I was seven years old when My Neighbor Totoro taught me that magic exists in mundane moments. Twenty years later, I still tear up watching Spirited Away's train scene – that quiet moment of reflection as the world passes by. That's Studio Ghibli's power: creating films that stay with you forever.
Ghibli Fest 2025 was announced, celebrating 40 years of the studio with theatrical releases including classics like Kiki's Delivery Service, My Neighbor Totoro, and Spirited Away. With over 22 feature films spanning four decades, it's time to rank the complete filmography.
Let me separate the untouchable masterpieces from the well-meaning misfires – and yes, even Ghibli has those.
S-Tier: The Untouchable Masterpieces
Spirited Away (2001)
There's a reason Spirited Away is described as "the best entry point for those wanting to dive into Studio Ghibli works." It won an Oscar for Best Animated Feature and remains the only hand-drawn, non-English language film to achieve that honor.
The film is a perfect introduction to Miyazaki's themes: coming-of-age through adversity, environmentalism, critique of consumerism, and the importance of remembering your identity. Chihiro's transformation from whiny child to capable young woman feels earned. Every character, from No-Face to Haku to Zeniba, serves the narrative while being memorable independently.
The animation is breathtaking. The bathhouse sequences are visually stunning. The train scene – oh god, the train scene – is cinema at its purest. Just Chihiro and friends riding across water, accompanied by Joe Hisaishi's melancholic score. No dialogue. Pure atmosphere.
I've watched Spirited Away dozens of times. It never gets old. That's the mark of a masterpiece.
Princess Mononoke (1997)
Considered "the standout among" Studio Ghibli films, Princess Mononoke is praised as "the fiercest display of Studio Ghibli's environmentalist and feminist ideals."
This is Miyazaki at his most ambitious and mature. The environmental message isn't preachy – it's complex. Both humans and nature have legitimate grievances. There are no clear villains, just people and spirits fighting for survival. Lady Eboshi runs an ironworks that destroys the forest, but she also provides sanctuary for outcasts and sex workers. San defends the forest violently, but she's protecting her home from colonization.
The action is brutal. People die. Characters lose limbs. The Deer God's death is genuinely horrifying. This isn't kids' stuff – it's mature storytelling that respects audience intelligence.
The animation quality was groundbreaking for 1997. The forest spirits, the Deer God, the demon transformations – it all still looks incredible in 2025.
Princess Mononoke is Miyazaki's magnum opus. Fight me.
Grave of the Fireflies (1988)
Described as "one of the most harrowing movies ever made," Grave of the Fireflies achieved a perfect 100% on Rotten Tomatoes.
This is the film I can never watch again. Not because it's bad – because it's too good. The emotional devastation is unbearable. Director Isao Takahata creates an anti-war film so effective it physically hurts.
Two siblings trying to survive in war-torn Japan. Their gradual descent from comfortable middle-class life to starvation and death is documented with excruciating detail. The film doesn't pull punches. Children die. Slowly. Painfully. Preventably.
Grave of the Fireflies is important. Essential, even. But it's trauma in film form. I respect it more than any other Ghibli film. I also never want to experience it again.
A-Tier: Beloved Classics
The Boy and the Heron (2023)
Miyazaki's most recent film is described as "a culmination of the many themes and characterizations from Miyazaki's career" where "Miyazaki delivered."
This is deeply personal filmmaking. The Boy and the Heron feels like Miyazaki processing grief, legacy, and mortality. It's dense, surreal, and occasionally confusing. But it's also gorgeous, emotionally resonant, and unmistakably Miyazaki.
The animation is stunning. The fantasy world sequences are trippy in ways Ghibli hasn't explored before. The heron character is simultaneously grotesque and charming. The themes about creativity, inheritance, and choosing your path are handled with maturity.
My hesitation putting it in S-tier? It's not as accessible as Spirited Away or as focused as Princess Mononoke. It's Miyazaki for Miyazaki fans. If you're new to his work, start elsewhere. If you've watched everything else, The Boy and the Heron is a beautiful farewell (assuming he actually stays retired this time).
Howl's Moving Castle (2004)
Often cited as one of the most loved Studio Ghibli movies, Howl's Moving Castle has an 8.2 IMDB rating and received an Oscar nomination for Best Animated Feature.
The visual design is incredible. The moving castle itself is a masterpiece of mechanical animation. Howl's various homes accessed through the door are gorgeously realized. The transformation sequences are fluid and magical.
Sophie's character arc – forced to confront her self-image through magical aging – is fascinating. Her relationship with Howl develops naturally. Calcifer is a perfect comic relief character who never feels annoying.
The plot gets messy in the final act. The war subplot feels tacked on. Some narrative threads resolve unsatisfyingly. But the journey is so enchanting that I forgive the destination's flaws.
While not as awe-inspiring as Spirited Away or action-packed as Mononoke, it works on the level of Kiki's Delivery Service. And that's high praise.
My Neighbor Totoro (1988)
Totoro is remarkable for its radical simplicity, unfolding at a gentle pace without conventional antagonists or artificial conflict, instead capturing the wonder of childhood exploration and the healing power of imagination during times of uncertainty.
There's no villain. No world-ending threat. Just two girls moving to the countryside, dealing with their mother's illness, and discovering friendly forest spirits. That's it. And it's perfect.
In 2025, Totoro's celebration of nature and unhurried childhood reminds us of what modern life often lacks – a connection to the natural world and space for unstructured play and discovery.
The Catbus is iconic. Totoro himself is one of the most recognizable characters in animation. The umbrella scene is pure magic. Mei falling asleep on Totoro's stomach is impossibly wholesome.
It's comfort food as cinema. Perfect for children, deeply appreciated by adults.
Kiki's Delivery Service (1989)
Kiki's Delivery Service scored 98% on Rotten Tomatoes and is often cited as one of the most loved Studio Ghibli movies.
This is the film about creative burnout that every artist needs. Kiki loses her magic not because of some curse, but because she's overworked, underappreciated, and depressed. The solution isn't magical – it's rest, reconnecting with why she loved flying in the first place, and accepting help from friends.
The animation of flight is joyous. Kiki zooming through the coastal town on her broom feels liberating. The European-inspired setting is gorgeously detailed. The everyday magic of a witch running a delivery service is charming without being cloying.
It's deceptively simple storytelling that resonates deeply. Growing up means losing some childhood wonder. Finding purpose means rediscovering what made things magical in the first place.
Nausicaä of the Valley of the Wind (1984)
Nausicaä features a heroine with in-depth characterization: an adorable dork who loves nature and fights to bring peace between humans and nature. Its depiction of environmental disaster and interspecies conflict feels increasingly relevant in 2025.
Technically made before Studio Ghibli was founded, but it's spiritually and creatively a Ghibli film. Nausicaä establishes so many themes Miyazaki would explore throughout his career: environmentalism, strong female protagonists, pacifism, and the complexity of human nature.
The world-building is exceptional. The toxic jungle, the giant insects, the warring kingdoms – it all feels realized. Nausicaä herself is a perfect protagonist: brave, compassionate, and intelligent.
The climax is emotionally powerful. The animation holds up remarkably well. It's essential viewing for understanding Miyazaki's filmography.
B-Tier: Good But Flawed
Porco Rosso (1992)
Porco Rosso scored 96% on Rotten Tomatoes, making it one of the highest-rated Ghibli films critically.
A pig who flies a seaplane and fights air pirates. The premise is absurd. The execution is charming. Porco Rosso is Miyazaki indulging in his love of aviation while telling a melancholic story about trauma, identity, and choosing isolation.
The aerial combat is gorgeously animated. The 1930s Italian Riviera setting is beautiful. The film has a relaxed, almost episodic pace that's refreshing.
But it's not as emotionally resonant as A-tier films. The romance subplot feels underdeveloped. The ending is deliberately ambiguous in ways that frustrate rather than intrigue.
It's Miyazaki comfort viewing for fans. Newcomers might bounce off the slower pace and weird premise.
The Wind Rises (2013)
Miyazaki's most controversial film. A biopic about the man who designed Japanese fighter planes used in WWII, presented sympathetically. The ethical questions are uncomfortable.
But as pure filmmaking? Gorgeous. The dream sequences are stunning. The romance is touching. The depiction of 1920s-1930s Japan is meticulous.
It's mature, thoughtful, and deliberately provocative. I respect it more than I love it. The "am I entertained by a film romanticizing warplane design" question lingers uncomfortably.
Castle in the Sky (1986)
Rip-roaring adventure with spectacular action sequences and wonderful world-building. The floating city of Laputa is gorgeously realized. The steampunk aesthetic is influential.
But the pacing drags in the middle. Some characters are one-dimensional. The environmental themes are heavy-handed compared to later, more nuanced works.
It's incredibly fun. Just not as complete as Miyazaki's later masterpieces.
C-Tier: The Weaker Entries
Ponyo (2008)
Ponyo has passionate defenders. I'm not one of them.
The animation is beautiful. The story about a goldfish who wants to become human is sweet. But it's aggressively childish in ways that don't transcend age groups like Totoro does.
The environmental disaster caused by Ponyo's transformation gets glossed over. The resolution feels unearned. Sosuke and Ponyo's relationship is cute but shallow.
It's fine for young children. Adults will probably be bored.
Tales from Earthsea (2006)
Goro Miyazaki's directorial debut is... rough. The plot is confusing. The characters are underdeveloped. The pacing is terrible.
Hayao Miyazaki publicly criticized this film. That's how bad it is. It has gorgeous moments – Ghibli's animation quality rarely falls below competent – but the story is a mess.
Skip it unless you're a completionist.
Earwig and the Witch (2020)
Generally considered the worst Ghibli movie, Earwig lacks emotional depth and represents Ghibli's first fully CGI film.
The shift to 3D animation looks... wrong. Ghibli's magic comes from hand-drawn artistry. The CGI feels soulless. The story is bland. The characters are unlikable. The ending is abrupt and unsatisfying.
It's not unwatchable. It's just disappointing. Ghibli's lowest point by far.
What Makes Studio Ghibli Special
Studio Ghibli films are mostly hand-drawn using rich watercolor and acrylic paints, with every frame drawn and colored by hand using traditional methods. The hand-drawn animation style, even in an era of CGI dominance, is their hallmark.
Environmental themes run through almost every film. Many Ghibli films feature profound respect for nature and often highlight the negative impact of human industrialization.
Strong female protagonists dominate Ghibli filmography. Chihiro, San, Nausicaä, Sophie, Kiki – these aren't damsels in distress. They're capable, complex characters driving their own narratives.
Childhood wonder permeates the films. The world is often seen through the eyes of children or young protagonists navigating challenges and discovering themselves.
In 2025, as animation continues to develop technologically, Studio Ghibli's filmography reminds us that the most essential elements of storytelling remain unchanged: compelling characters, meaningful themes, and artistic vision.
The Ghibli Experience in 2025
Four of the top spots in Japan's 2025 box office rankings are held by Ghibli films, all directed by Hayao Miyazaki. That's insane longevity. Films from the 1980s and 1990s still draw crowds in 2025.
Ghibli Fest bringing these films back to theaters is a gift. Spirited Away on a big screen is transcendent. The detail in backgrounds, the fluidity of animation, the subtle facial expressions – you notice things in theaters that home viewing misses.
Final Thoughts
Studio Ghibli's best films rank among the greatest animated works ever created. Spirited Away, Princess Mononoke, and Grave of the Fireflies are untouchable. Their A-tier works are better than most studios' masterpieces.
Even their weaker entries have moments of beauty. Ghibli's commitment to hand-drawn animation, environmental themes, and emotional authenticity creates films with lasting impact.
The worst Ghibli film is still watchable. The best are life-changing. That's an incredible batting average across 40 years and 22 films.
If you've never watched Ghibli, start with Spirited Away or My Neighbor Totoro. If you want something mature, try Princess Mononoke. If you want to cry, Grave of the Fireflies awaits.
And if you've already watched everything? Go see them in theaters during Ghibli Fest 2025. These films deserve the big screen.
References
- All Studio Ghibli Movies Ranked by Tomatometer - Rotten Tomatoes
- All Studio Ghibli Movies Ranked from Best to Worst - Mental Floss
- Wonders of Studio Ghibli: Movies Ranked from Worst to Best - Fandom Wire
- The Complete Studio Ghibli Filmography: Miyazaki & More (2025) - Vitrina.ai (2025)
- Common Themes: Unveiling the Magic of Studio Ghibli Films - YumeTwins
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