Renowned animation master Hayao Miyazaki has gifted the world with a treasure trove of joy and entertainment through his visionary work at Studio Ghibli.

Miyazaki has helmed some of the most cherished films over the past four decades, including classics like “My Neighbor Totoro” (1988), “Spirited Away” (2001), and “Ponyo” (2008). A fresh documentary by Léo Favier titled “Miyazaki, Spirit of Nature” delves into the director’s arduous journey to the zenith of animation, positing that his films are best appreciated within an environmental context. Miyazaki’s relentless passion for nature and his intricate relationship with the natural world are pivotal to understanding his cinematic masterpieces.

“Miyazaki, Spirit of Nature,” which recently debuted at the Venice Film Festival, weaves together three interconnected narrative threads: an examination of the world’s current state, a chronological account of Miyazaki’s life, and an exploration of his directorial works. Favier, a fervent admirer of Miyazaki’s films, ensures that viewers have a comprehensive understanding of what Miyazaki and the world were experiencing during the creation of each film featured in the documentary.

Surprisingly, despite Miyazaki having directed twelve films—a prolific output by animation standards—not all of them are spotlighted in this documentary. Films such as “Kiki’s Delivery Service” (1989) receive only cursory mentions, “Howl’s Moving Castle” (2004) is shown in brief snippets, and “The Wind Rises” (2013) is merely mentioned by name.

These omissions are perplexing, especially since these films resonate with Favier’s discussion on Miyazaki’s fervor for nature. “The Wind Rises,” which chronicles the creation of Japanese fighter planes, seems ripe for Favier’s in-depth analysis. Insights from experts such as Susan Napier, Miyazaki’s son Goro Miyazaki, or producer Toshio Suzuki could have offered enriching perspectives on this film. Excluding these films potentially weakens rather than strengthens the documentary’s insights.

The most puzzling choice is the last-minute introduction of Miyazaki’s “The Boy and the Heron.” This highly successful Ghibli film marked Miyazaki’s return to filmmaking after a promised retirement and earned him a second Academy Award. It represents a culmination of his career and is a profound exploration of nature and human relationships. Yet, “Spirit of Nature” rushes through its discussion in the closing moments. This hurried treatment might be due to the timing of the film’s completion relative to “The Boy and the Heron’s” release, but it feels like a significant oversight to accord such a major work minimal screen time.

Despite these choices, “Spirit of Nature” remains a heartfelt and insightful tribute to one of the most influential filmmakers in animation history. Favier’s film critically examines what makes Miyazaki’s work so commendable and essential. Although Miyazaki himself was not interviewed (he famously avoids interviews), “Spirit of Nature” features ample archival footage of him diligently working in his modest office space. Favier enriches the documentary with beautifully composed images of real nature paired with excerpts from Miyazaki’s films, providing viewers with a vivid sense of what the director was feeling and thinking during his creative process.

Similar to Miyazaki’s films that thrive on complex themes rather than pandering to children, Favier’s documentary engages intellectual minds such as anthropologist Philippe Descola and writer Natsuki Ikezawa. They articulate concepts like animism, which Favier skillfully links to key scenes from Miyazaki’s films, emphasizing how these beliefs are crucial to understanding the enchanting creatures Miyazaki has crafted.

While the documentary does not delve deeply into the complexities of animation as a medium, it thoroughly explores Miyazaki’s profound connection with nature. It offers viewers—particularly ardent Studio Ghibli fans—plenty of compelling insights. For instance, it details how “Porco Rosso” (1992) significantly altered Miyazaki’s creative direction and how his first encounter with animation through “The White Snake Enchantress” (1958) transformed his life forever. Even those well-versed in Miyazaki’s filmography will discover new facets in this documentary.

Favier’s admiration for Miyazaki shines through every frame, supported by experts like Miyazaki’s son Goro who share immense respect for him. The documentary avoids mere hagiography by also exploring the darker aspects of Miyazaki’s life. “Spirit of Nature” offers a tantalizing yet not entirely exhaustive portrait of a filmmaker often grappling with himself—a man whose eternal love for the environment is tinged with growing despair at the state of the world.