Studio Ghibli Movies Ranked: All 23 Films by Mood

I have watched Studio Ghibli movies in every possible mood. Happy. Burnt out. Homesick. Curious. A little broken. Here is what I have learned: Ghibli does not just entertain me. It rearranges me.

To watch a Studio Ghibli film is to step into a world that feels more real than our own.

Whether it is the quiet beauty of a countryside bus stop or the breathtaking expanse of a spirit world, Ghibli does not just animate stories, it animates atmosphere.

So yes, I am ranking all 23 Studio Ghibli movies, and yes, I know ranking Ghibli is basically inviting friendly chaos into my life.

But I am not ranking purely by quality, because they are nearly all masterpieces. I am ranking them by the feeling they leave behind.

All Studio Ghibli Movies, Ranked

I am starting at the bottom and working up to the films that, in my opinion, define the studio’s best work. Some of these rankings will be controversial. I can live with that.

To help you match a film to your evening, every entry gets a mood tier and a Magic Score.

• Tier: Cozy & Comfort, Epic & Philosophical, Romantic & Dreamy, Melancholic & Reflective, or Playful & Fun.
• Magic Score: Imagination, Artistry, and Musical Impact, each out of 10.
• Ideal Watch and Best for: the mood it suits and a quick age note.

Earwig and the Witch (2020)

This is the one I place as the least I’d liked. 

I could not connect with the characters or the emotional logic of the story. Watching the mistreatment of children felt unpleasant instead of meaningful, and the ending left me unsatisfied. If I did not know it was Ghibli, I would assume it was a lower-budget project. The plot feels thin, the dull characters never grow into anything I care about, and the CGI look does not give me that signature Ghibli warmth.

The Tale of Princess Kaguya (2013)

The Tale of Princess Kaguya is based on the old Japanese story sometimes called The Tale of the Bamboo Cutter. I already knew the basic narrative going in, which made it harder to surprise me. But the art style floored me. It is delicate, raw, and intentional. I ranked it lower mainly because it is emotionally heavy in a way I do not reach for often, not because it lacks quality. People associate Ghibli with Miyazaki’s work, but this one is Takahata, and you can feel that difference in the emotional texture.

My Neighbors the Yamadas (1999)

This is not the film I use to sell Ghibli to someone new. But I do enjoy it. I like the sketchy, minimalist look. It feels like warm newspaper comics that grew into a movie. It is funny, gentle, and quietly smart, especially about family dynamics. And the characters work for me, especially the grandma. She is the kind of character who steals scenes without trying.

Pom Poko (1994)

This is one of those films that feels wildly specific, and that is why I respect it. Takahata’s voice is all over it, and I like how it blends humor with melancholy without begging for approval. The cultural flavor is strong, and the film does not dilute itself to be universal. I also appreciate the context around Takahata as a creator, including his earlier work like the Heidi series from the 1970s.

The Cat Returns (2002)

This is my “I want Ghibli, but I do not want to cry” pick. The plot is simple, the pacing is light, and the cat kingdom chaos is real fun. Also, as someone who loves cats, I am an easy target for this movie. It is not the deepest film in the catalog, but it is charming on purpose. Sometimes that is enough.

Ocean Waves (1993)

After the big fantasy titles, this one surprised me with how restrained it is. If you like grounded anime that really feels like teenage emotions, this hits. It is a quiet love triangle with the kind of awkward realism I rarely see handled this cleanly. For people who search for high school romance, I get why this has a loyal fanbase.

Tales from Earthsea (2006)

I went into this one with high expectations because I care about Earthsea as a world. Visually, it is beautiful. Emotionally, it is uneven. I can see the respect for the source material, but I also feel the story straining to combine elements that do not fully fuse. I do not hate it. I just do not reach for it first.

Nausicaä of the Valley of the Wind (1984)

This one feels like the blueprint for so much that came later. It is not technically under the Ghibli banner, but it is absolutely part of the DNA. Miyazaki’s environmental themes and heroic compassion are already fully alive here. I also like the historical footnote that it involved the studio behind The Last Unicorn, which later connects to the formation of Ghibli as a creative powerhouse.

Porco Rosso (1992)

I think this film is underrated, and I will keep saying that. It is romantic, funny, and bittersweet without trying too hard. The aviation sequences are gorgeous, and the mood is mature in a way that feels effortless. For me, this movie is a stunning piece of art that deserves more casual love, not just film-nerd respect.

Castle in the Sky (1986)

This is classic adventure Ghibli. Big feelings, bigger sky, and a story that moves like a folk tale with momentum. I love how it balances wonder with danger. It is also one of the films I recommend to people who want a fun plot first, then the deeper themes later. And I am keeping this detail because it is part of the film’s history: it was distributed by the Toei Company.

Whisper of the Heart (1995)

This is one of the most quietly influential Ghibli films for me. It is grounded. It is about adolescence and ambition, not fantastical creatures or world-saving quests. When I watch it, I remember exactly what it felt like to be a teenager who wanted to be good at something, but did not know how yet.

From Up on Poppy Hill (2011)

I like this movie because it does not shout. It is a love story without the usual loud romance tropes. No big villain. No forced drama. Just everyday life, history, and longing. When I am in the mood for a gentle, human film, this one is a reliable pick.

Howl’s Moving Castle (2004)

I get why people obsess over this one. The visuals are iconic, and the castle itself feels like a character. But what makes it stick for me is Sophie. A young girl, Sophie, forced into a new body and a new life, still finds her backbone. That is the heart of it. I also love the anti-war undercurrent. It is not subtle, and I am glad it is not.

Ponyo (2008)

This movie is pure color and affection. It is also one of the films I recommend when someone wants something safe for a younger viewer without feeling babyish. And yes, I know a lot of people already know Ponyo’s narrative. For me, it is the emotional tone that matters. It is sincere. It is gentle. It is joyful.

The Wind Rises (2013)

This one is craft-forward in the best way. I watch it and feel the precision. The planes. The skies. The careful observation of a person chasing a dream that comes with moral weight. It is beautiful, but it is not comfort. It is a film I watch when I want art that asks something of me.

When Marnie Was There (2014)

This film hits a specific emotional nerve for me: loneliness that does not look dramatic from the outside. I like how it handles identity, memory, and connection without turning everything into a speech. It is quiet, but it is emotionally sharp. If you have ever felt like you were too much and not enough at the same time, I think this one understands you.

My Neighbor Totoro (1988)

This is the film I reach for when I want to feel safe. It is soft, but it is not shallow. It understands childhood fear and hope without overstating either one. And I will happily credit the man directly because it is true: it was crafted by the iconic animator Hayao Miyazaki.

Grave of the Fireflies (1988)

I do not rewatch this often. I respect it too much to treat it casually. It is devastating. It is human. It is one of the few animated films that I think belongs in the great war films conversation without apology. When people say animation is only for kids, this is the title I think about first.

Only Yesterday (1991)

This is Ghibli for adults who want something reflective, not fantastical. I like the way it treats memory, work, and personal growth as worthy subjects. It is slow in a deliberate way, not a boring way. When it clicks, it feels like looking at your own life from a more forgiving angle.

The Secret World of Arrietty (2010)

I am a sucker for small-world storytelling, and this one nails that feeling. Hand-drawn animation gives it a warmth I do not get from most CGI films. The scale, the details, the quiet tension of being hidden, it all works for me. It also feels like a gentle reminder that tiny lives still contain huge stakes.

Kiki’s Delivery Service (1989)

This is my confidence-reset movie. Kiki’s story reminds me that burnout and self-doubt are part of growth, not proof that I am failing. I have returned to it during stressful seasons more than once. And I love that the film does not need a big villain to be compelling. Life is the challenge. That is enough.

Princess Mononoke (1997)

This is Ghibli at its most ferocious. When I first watched it, I was stunned by how mature it felt, not just in violence, but in moral complexity. Nobody is purely right. Nobody is purely evil. Even Lady Eboshi is understandable, and that is what makes it powerful. I do not watch it for comfort. I watch it because it feels like myth with teeth.

Spirited Away (2001)

This is my number one. Every time. I have watched Spirited Away in different stages of my life, and it keeps changing shape. When I was younger, it was magical chaos. As I got older, it became a story about identity, work, courage, and keeping your name in a world that tries to erase you. The visuals are unforgettable. The music is haunting. And the way Chihiro grows from frightened to brave still feels earned every single time.

Where to Watch Studio Ghibli Movies

Streaming rights shift around, but here is the lay of the land right now, and it depends on where you live.

• United States and Canada: nearly the entire catalog lives on Max, thanks to an exclusive deal with distributor GKIDS.
• The one exception: Grave of the Fireflies is not on Max because of separate rights, so in the US you will find it on Netflix instead.
• Most of the rest of the world: the catalog streams on Netflix, with Grave of the Fireflies available there in over 190 countries.
• Japan: oddly, the studio’s home country still has no streaming deal, so fans there buy or rent.
• Anywhere: almost every film is available to buy or rent digitally, and the GKIDS Blu-rays are gorgeous if you want a physical copy.

Where Should You Start? A Ghibli Watch Order

New to Ghibli and staring at 23 films?

Do not start at the bottom of a ranked list of Studio Ghibli movies. Start with the feeling you want, then work outward.

• Step 1, the gentle doorway: begin with My Neighbor Totoro or Kiki’s Delivery Service. They are warm, simple, and show you what makes the studio special without asking much of you.
• Step 2, the masterpiece: move to Spirited Away. It is the perfect bridge between cozy and epic, and it is the film most likely to turn you into a lifelong fan.
• Step 3, pick your mood: want swoon and spectacle? Go to Howl’s Moving Castle. Want big ideas about nature and humanity? Go to Princess Mononoke or Nausicaa.
• Step 4, the deep cuts: once you are hooked, explore the quieter, more reflective Takahata side: Only Yesterday, The Tale of Princess Kaguya, and, when you are ready, Grave of the Fireflies.