Every Studio Ghibli Film, From Worst to Best

It was one of the most pleasant surprises of the year 2020 in the competitive landscape of streaming: Netflix has the right to stream almost all of Studio Ghibli’s films. Studio Ghibli is a movie production company that specializes in anime, and Hayao Miyazaki is responsible for directing and producing some of the most successful works of the company. An authentic and authentic avalancha of classic anime, but with a distinctive trademark of modernity that is easily recognizable. Continue to be accessible on the platform, so that you can take pleasure in the adoration of the animation fans.

In order to commemorate this occasion, we have made the decision to revisit the most significant achievements of the study, which include ecology, monstrosity, humanism, journeys to worlds that are beyond comprehension, ternura, and imagination, all encapsulated in a collection of films that are worth reviewing one after the other. Acompañado en esta montaña rusa por las películas de Studio Ghibli, arranged sequentially from the worst to the best. And as we have always done, we would like to remind you that this order is subject to the personal opinion of the editor. We will be waiting to read your response in the comments section.

An absolute catastrophe in terms of visuals, which, while being a part of a story that is essentially Ghibli (although it almost ends up being an autoparodia involuntary), is a brilliant imitation of the expressiveness and the enchantment of the classic films produced by the producer. Within the confines of this particular place, there exists a little girl of ten years old who possesses the ability to fulfill her desires and voluntarily enters the service of a woman. Algún hallazgo plástico esporádico does not eliminate the feeling that Ghibli will never be able to compete with Disney and Pixar in terms of their own terms… something that Ghibli has never needed to do.

La primera producción del hijo de Miyazaki, despite the fact that it is considered to be the worst film ever made by Studio Ghibli (up until the arrival of Earwig and the bruja), is not lacking in interest. This is because Ghibli’s worst films are, simply put, the ones that are the least good. Pero el atrevimiento de adaptar las complejas, palpitantes novelas originales de la great Ursula K. Le Guin se salda con una fantasía del montón pese a querer respetarle giros y personajes (o quizás debido an eso). As a result of the assassination of his father, the protagonist is a young man who has become self-exiled from his homeland. He is considered to be one of the most politically conservative protagonists in Ghibli. Técnicamente, esto es a fact, as it delata the year of its production and possesses scenes of action that are phenomenal.

A television production that was completely inferior, but which recently underwent a resurgence in theaters in a version that was reworked. It began as an experiment that was never repeated, in which the research endeavor entrusted some of its younger members with the responsibility of putting together a project and describing a young man who loved three different women. In spite of the fact that it has a little bit more room for experimentation and preciosism than the television shows that were produced during that time period, it is a pleasant and relatively less expensive form of entertainment.

It is possible that the experience of adapting a story that is so full of fantasy, such as “Cuentos de Terramar,” left Goro Miyazaki with a desire to create something more realistic, and he experimented with this idea by writing this film with his father. The outcome does not stand out in any particular way, but the visual beauty and the calm rhythm are quite remarkable. In fact, it is a delirious experience. Ambientada in los años sesenta, esta obra retorta a secretos familiares y amores juveniles, and possues una exquisita ambientación histórica cotidiana – with las Olimpiadas de Tokyo revolucionando el país y disipando el recuerdo de la II Guerra Mundial – es, without a doubt, the most interesting aspect of the conjunto.

For the reason that it is based on a British novel from the 1970s, this story of fantasies is absolutely exquisite in terms of its visual presentation. However, it lacks the typical Ghibli style of storytelling. Within her, a young woman who is depressed and lives alone comes into contact with a young woman who is mysterious and lives in an old mansion. Lo mejor, aparte de la ambientación y los increíbles diseños rurales son todas las ideas que la película inyecta entre líneas acerca de temas como la depresión o los niños sin familias convencionales, y la franqueza con la que plantea una relación adolescente de tintes lésbicos honesta y sin estridencias.

Otra historia que, perhaps due to the fact that it is based on a book that was written in Britain, never stops feeling like it is Ghibli, but which is, without a doubt, an unfathomable delirium since the very beginning. Su protagonista, una borrower -diminutos seres de unos pocos centímetros de alto que viven ocultos en las casas de los humanos y viven de coger prestados objetos y alimentos que no echaremos de menos- sí que está en sintonía con otras heroínas del estudio, y sin duda es lo más destacable de una película soberbia en lo visual y con una banda sonora de Cécile Corbel absolutamente espectacular.

Yoshifumi Kondo was supposed to succeed Hayao Miyazaki and Takahata in Ghibli, but he failed to do so, leaving behind an outstanding film that discusses a subject that is extremely difficult to convey, namely the creative process (also known as the literary process, which is particularly abstract and introspective) and the desire to devote oneself to it despite having other responsibilities in the world. Una historia de amor adolescente de fondo, la que desencadena la ambición como escritora de la protagonista, in una de las películas de Ghibli que “pese a su gato parlante” más apuesta por la cotidianeidad, comprises the entirety of the story.

Algunas of las películas más extraías e inclasificables de la filmografía de Ghibli, Isao Takahata is el director de películas, and posiblemente, esta es la que más alta puntúa en ambas categorías. Despite the fact that it was the first digitally animated film produced by the studio, the artistic style of the artist, which was done in acuarela, contributed a significant and striking element to the film. Se distancia de la complejidad narrativa de otras películas del estudio con una serie de viñetas casi independientes sobre las vivencias cotidianas de una family completamente normal, and where el fantástico y el folclore tradicional se introducirán con la misma cotidiana sencillez. A total rarity that is absolutely irresistible.

Every Studio Ghibli Film, From Worst to Best

By b0oua

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