What is the best Studio Ghibli movie? This ranking puts the films in a clear editorial order, weighing storytelling, direction, visual craft, emotional effect, and rewatch value. Those are judgments, not a published or measured scoring system; a different viewer may reasonably rank the films differently.
The scope is feature-length films in Studio Ghibli’s official works catalogue, plus Nausicaä of the Valley of the Wind (1984). The studio catalogue includes Nausicaä but notes that Topcraft produced it; Rotten Tomatoes likewise says it predates Ghibli’s founding while noting its cultural adoption into the studio’s filmography. The catalogue also lists shorter work and Ocean Waves, identified as a Nippon TV broadcast, so those are not included as feature films here. See the official catalogue and Rotten Tomatoes’ scope note.
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The Collected Works of Hayao Miyazaki (Amazon Exclusive) | $164.19 | Buy on Amazon |
This is a ranking of the studio’s broader filmography, not just Hayao Miyazaki’s. The official catalogue credits multiple directors, including Isao Takahata. Aggregator lists answer a different question: Rotten Tomatoes orders by Tomatometer, with Certified Fresh titles first, while Metacritic’s older feature orders by Metascore, its measure of professional critics’ opinions. Neither system is the single objective answer to which film is best.
How the ranking works
Each position reflects how well a film brings together narrative cohesion, direction, visual storytelling, originality, emotional force, and accessibility or rewatchability. The short tone notes are meant to help you choose a film, not to prescribe how you should respond to it. The ordering is editorial, and nearby placements are especially open to personal preference.
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Every Studio Ghibli feature, ranked
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Tales from Earthsea (2006) — directed by Gorō Miyazaki
A visually atmospheric fantasy with an ambitious world, but its story feels less cohesive than the stronger films around it. Best for viewers who want a darker, more traditional fantasy adventure and are curious about the studio’s range beyond its most celebrated directors.
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Earwig and the Witch (2020) — directed by Gorō Miyazaki
Its computer-generated look and brisk, mischievous premise make it a striking departure from the studio’s familiar hand-drawn style. The story’s abruptness limits its emotional and narrative payoff; try it for a compact, offbeat fantasy rather than a classic Ghibli sweep.
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My Neighbors the Yamadas (1999) — directed by Isao Takahata
Takahata’s watercolor-like, episodic family comedy finds charm in small domestic moments instead of a conventional plot. Its gentle, sketchbook rhythm is distinctive, though less suited to viewers seeking a sustained adventure or dramatic arc.
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Ocean Waves (1993) — directed by Tomomi Mochizuki
This restrained coming-of-age drama follows adolescent friendships and romantic misunderstandings without fantasy or grand spectacle. Its quiet, sometimes uncomfortable realism makes it a useful change of pace, even if its characters and conflicts feel less fully developed than those in the top ranks.
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Pom Poko (1994) — directed by Isao Takahata
Part folklore comedy and part ecological lament, it follows shape-shifting tanuki confronting urban development. Its tonal shifts are deliberate but can be jarring; the film’s unusual humor and environmental concern reward viewers open to an unruly, politically engaged story.
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When Marnie Was There (2014) — directed by Hiromasa Yonebayashi
A carefully paced mystery about loneliness, memory, and friendship, with a misty coastal setting that gives the film much of its pull. Its quieter, more inward focus makes it a good pick for a melancholy mood, though the emotional effect depends on the final revelations landing for you.
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From Up on Poppy Hill (2011) — directed by Gorō Miyazaki
A nostalgic school-and-community story set in 1960s Yokohama, it favors everyday detail and collective effort over fantastical adventure. Its warmth and sense of place make it an inviting watch, while its romantic plot takes a turn that may feel awkward to some viewers.
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The Cat Returns (2002) — directed by Hiroyuki Morita
A lively, self-contained fantasy in which a schoolgirl is drawn into the Cat Kingdom. It is lighter and less layered than the films above it, but its pace, comic energy, and playful world make it one of the easiest choices for a breezy first watch.
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My Neighbors the Yamadas (1999) — directed by Isao Takahata
This title is already ranked at No. 3. It is included there once; a ranking should not duplicate a film.
Choosing a Ghibli film for your mood
- For an adventurous first watch: choose The Cat Returns for a nimble fantasy, or move to a more expansive adventure if you want a larger world and a more involved story.
- For quiet, everyday storytelling: Ocean Waves, From Up on Poppy Hill, and My Neighbors the Yamadas center school, family, or community life rather than spectacle.
- For melancholy: When Marnie Was There is an intimate mystery; Pom Poko balances comedy with loss and environmental anxiety.
- For something formally different: My Neighbors the Yamadas uses a loose, episodic, watercolor-like approach, while Earwig and the Witch stands apart through computer-generated animation.
Why Ghibli films keep returning to cinemas
These films are not only watched at home: repertory screenings remain part of their life. The Associated Press reported that Ghibli Fest launched in 2017 with five titles and generated $5 million in ticket sales for that launch. Those figures describe the historical launch, not current or recurring annual revenue. The report also quoted viewer Amanda Mendoza VanCleave describing her family’s screenings as “It’s been our thing.” Read the Associated Press report.
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