The Venice Film Festival recently showcased a new documentary that delves into the life and works of the legendary animator Hayao Miyazaki. This film, titled *Miyazaki, Spirit of Nature* and directed by Léo Favier, is a rich source of insight that will captivate fans of the Studio Ghibli co-founder.

Hayao Miyazaki has enchanted audiences for decades with his imaginative storytelling and breathtaking animation, crafting iconic films such as *My Neighbor Totoro* (1988), *Spirited Away* (2001), and *Ponyo* (2008). Favier’s documentary examines Miyazaki’s challenging journey to the pinnacle of animation, asserting that his works are best understood within an environmental context. Miyazaki’s profound love for nature and his intricate relationship with the environment are essential to fully appreciating his artistry.

The documentary interweaves three narrative threads: an examination of the world’s state, a chronological exploration of Miyazaki’s life, and a focus on the films he directed. Favier, an ardent advocate for Miyazaki’s films, ensures viewers comprehend what both Miyazaki and the world were experiencing during the production of each highlighted film in *Spirit of Nature*.

Although Miyazaki has directed twelve films—a significant achievement in the animation industry—*Miyazaki, Spirit of Nature* does not give all of them equal attention. Films like *Kiki’s Delivery Service* (1989) receive minimal mention, *Howl’s Moving Castle* (2004) is represented by only a few brief clips, and *The Wind Rises* (2013) is mentioned solely by name. These omissions are puzzling, particularly because these films are relevant to the documentary’s central theme of Miyazaki’s passion for nature. *The Wind Rises*, which centers on the creation of Japanese fighter planes, seems particularly deserving of Favier’s thorough analysis. Experts featured in the film, such as Miyazaki specialist Susan Napier, his son Goro Miyazaki, and producer Toshio Suzuki, likely would have offered compelling insights into these works.

One of the most curious decisions in the documentary is the rushed introduction of Miyazaki’s *The Boy and the Heron*. This highly successful film marked Miyazaki’s return to filmmaking after his retirement and earned him a second Academy Award. It represents a culmination of his career and is a bold exploration of nature and humanity’s relationship with the environment. Yet, *Spirit of Nature* only briefly discusses this significant work in its closing moments. This hurried treatment might be attributed to the documentary already being complete when *The Boy and the Heron* was released, but it still feels like a significant oversight.

Despite these choices, *Spirit of Nature* remains a heartfelt and insightful tribute to one of animation’s most influential filmmakers. Favier’s film critically examines what makes Miyazaki’s work so admirable and essential. Although Miyazaki himself was not interviewed for the documentary—being famously averse to interviews—*Spirit of Nature* includes numerous archival clips of him at work, offering glimpses into his creative process. Favier also integrates excerpts from Miyazaki’s films with beautifully composed images of nature, providing a first-person perspective on what Miyazaki might have been feeling and thinking during the creation of his masterpieces.

In keeping with the complexity and depth characteristic of Miyazaki’s films, Favier’s documentary engages intellectual thinkers like anthropologist Philippe Descola and writer Natsuki Ikezawa. They illuminate concepts such as animism, articulately connecting these ideas to key images from Miyazaki’s films. This approach underscores how understanding these beliefs can deepen appreciation for the fantastical creatures Miyazaki has created.

While the documentary does not delve deeply into the technicalities of animation as an art form, it thoroughly investigates Miyazaki’s relationship with nature. This focus ensures that *Miyazaki, Spirit of Nature* offers ample rewards for viewers—especially devoted fans of Studio Ghibli. The film reveals intriguing details, such as how *Porco Rosso* (1992) significantly influenced Miyazaki’s creative direction and how seeing *The White Snake Enchantress* (1958) profoundly impacted him as a young boy. Even longtime followers of Miyazaki will find fresh insights in Favier’s work.

Favier’s deep admiration for Miyazaki shines through every frame, supported by respectful contributions from experts including Goro Miyazaki. The documentary avoids idealizing its subject by also exploring darker aspects of Miyazaki’s life. *Spirit of Nature* presents a fascinating, though not exhaustive, portrait of a filmmaker often in conflict with himself—a man with an enduring love for the natural world coupled with growing despair over its state.