Animation maestro Hayao Miyazaki has gifted the world a lifetime of joy and entertainment through his renowned Studio Ghibli, a powerhouse of animated films that have captivated audiences globally.

Miyazaki is the visionary behind some of the most cherished films of the past four decades, including “My Neighbor Totoro” (1988), “Spirited Away” (2001), and “Ponyo” (2008). A new documentary by Léo Favier, titled “Miyazaki, Spirit of Nature,” delves into the director’s arduous journey to the pinnacle of animation. The documentary posits that Miyazaki’s films are best appreciated within an environmental context, emphasizing his profound passion for nature and his intricate relationship with the natural world as fundamental to understanding his work.

“Miyazaki, Spirit of Nature,” which recently premiered at the Venice Film Festival, intertwines three narrative threads: an examination of the current state of the world, a chronological account of Miyazaki’s life, and an exploration of the films he directed. Favier is a fervent advocate for Miyazaki’s cinematic achievements, ensuring that viewers grasp what Miyazaki and the world were experiencing during the production of each highlighted film.

Interestingly, despite Miyazaki having directed 12 films—a significant number by animation standards—not all receive attention in this documentary. Films like “Kiki’s Delivery Service” (1989) are barely mentioned, “Howl’s Moving Castle” (2004) is shown only briefly, and “The Wind Rises” (2013) is referenced merely by name. These omissions are peculiar since these films are pertinent to Favier’s discussion on Miyazaki’s affinity for nature. “The Wind Rises,” with its focus on the creation of Japanese fighter planes, seems particularly ripe for Favier’s thoughtful analysis. Experts such as Susan Napier, Miyazaki’s son Goro Miyazaki, and producer Toshio Suzuki would likely have offered compelling insights into these works. The simplest explanation for not focusing on certain features might be their perceived misalignment with the documentary’s central argument. However, incorporating these films would have enriched “Spirit of Nature” rather than diluted it.

One of the more curious choices in the documentary is the last-minute introduction of Miyazaki’s “The Boy and the Heron.” This immensely successful Ghibli movie marked Miyazaki’s return to filmmaking after a promised retirement and earned him a second Academy Award. As a culmination of his career and a bold exploration of nature and our relationship with the world, “The Boy and the Heron” deserves more than a rushed segment. While Favier touches on how this film fits into Miyazaki’s lifelong environmental themes, the discussion feels disappointingly hurried. This may be due to the film being completed when “The Boy and the Heron” was released, yet it seems like a significant oversight to give such an important work minimal time.

Despite these choices, “Spirit of Nature” remains a warm, insightful celebration of arguably the most influential filmmaker in animation history. Favier’s film critically examines what makes Miyazaki’s work so admirable and essential. Although Miyazaki himself did not partake in interviews (being famously averse to them), “Spirit of Nature” includes plenty of archival footage showing the master at work in his modest office space. Most excitingly, Favier gained access to excerpts from Miyazaki’s films, which he interweaves with beautifully composed images of nature, offering first-person insights into Miyazaki’s creative process.

Just as Miyazaki’s films thrive on complex ideas and do not condescend to children, Favier’s documentary attracts intellectual thinkers such as anthropologist Philippe Descola and writer Natsuki Ikezawa. They articulate concepts like animism eloquently, with Favier effectively binding their words to key images from Miyazaki’s films, illuminating how these beliefs are integral to understanding the fantastical creatures Miyazaki has brought to life.

While the documentary does not delve deeply into the technical complexities of animation as a medium, it thoroughly investigates Miyazaki’s relationship with nature. “Miyazaki, Spirit of Nature” promises ample rewards for viewers—especially ardent fans of Studio Ghibli. The film provides compelling insights, such as how “Porco Rosso” (1992) significantly altered the creative process or how seeing “The White Snake Enchantress” (1958) changed Miyazaki’s life forever. Even those well-versed in Miyazaki’s oeuvre will discover new perspectives here.

Favier’s adoration for Miyazaki is palpable throughout the film, and the experts he assembled—including Goro Miyazaki—express profound respect for him. The documentary manages to avoid hagiography by exploring the darker aspects of Miyazaki’s life. “Spirit of Nature” offers a tantalizing yet incomplete portrait of a filmmaker often at odds with himself: a man with an enduring love for the environment but increasingly despondent about the world’s state.