An Imaginative Lens: Analysis of My Neighbor Totoro

Fig. 1 - Hayao Miyazaki's My Neighbor Totoro (1988).

My Neighbor Totoro is one of the most well-known among Studio Ghibli’s works. Directed by Hayao Miyazaki in 1988, the film tells the story of two girls, Mei and Satsuki, and their dad, Mr. Kusakabe, as they move to the countryside as they wait for Mrs. Kusakabe to recover from a hospital nearby. Now living in an old country home, Mei and Satsuki look in wonder at the countryside and eventually encounter magical creatures that live in the nearby forest (and even within their home), soon meeting the guardian of the forest, Totoro (Fig. 1). The aim of this blog is to identify how the audience is invited to feel connected to the setting and the fantastical creatures as much as the main characters. By exploring the impact of the film’s realistic world setting, this blog argues that My Neighbor Totoro’s use of everyday fantasy helps create and explore the imaginative lens to an already grounded world.

My Neighbor Totoro show a world that is realistic and idealistic, but is also supported by imaginative elements. The first scene of the film shows Mei and Satsuki moving to the countryside with their dad as they look in awe at their new home setting. This scene presents a picturesque and idealized version of rural life which invites viewers to immerse themselves in a world where nature plays a central role (Fujiki 2015, 152). The bright colours of the landscape and the natural imagery surrounding the family help to show nature as one of the main characters within the film, which in turn brings attention through contrast to one of the younger characters. Indeed, before Mei starts chasing the small white Totoro, the forest green surroundings compliments Mei’s bright, pink dress, giving attention and focus to what she is exploring around the area. Furthermore, there are several instances where the characters are intentionally drawn small in proportion to the settings to emphasize the importance of (and their immersion in) the film’s overall landscapes. Even without characters, the composition and design of how the forest is captured in unique camera angles expresses more storytelling within the rural side of Japan where Mei, Satsuki, and their dad are currently living. An example is when Mei and Satsuki are waiting in the rain for their dad to disembark the bus (Fig. 2). Several elements presented in the scene, such as the stone foxes, the frogs, and angled scenes of the girls and the forests, collectively underscore the characters’ imaginative sense of exploration within the realistic and grounded nature around them. The nature of the story is also one of the themes the film tackles through an imaginative lens.

Fig. 2 - Satsuki and Mei wait for the bus.

The themes of the film focus on both nature and family, and they both connect with one another. For example, in the scene of both Satsuki and Mei planting the seeds with Totoro, they are trying to make the plant grow, and they get big and tall. This scene shows the kids connecting with nature through Totoro, and here the film provides a space for the characters and audiences to reconnect with the joys and wonders of nature, even if only temporarily. This sequence also underscores the film’s exploration of nature through an imaginative, more fantastical lens by showcasing the fleeting yet profound experiences that come from engaging with the natural world. The impossibly rapid growth of the plants also connects with the theme of family, as both sisters struggle with how their mother is in the hospital and can possibly not come back home. Yet the children, hide their fears behind a veil of childlike wonder, which is both defined and enhanced by their time spent with nature. Both sisters show great care for one another, such as in the scene when Natsuki is looking for Mei as she runs around the whole area, just looking for her with great worry. They explore nature together throughout the film, and it helps them reinforce their bond as sisters.

Through its fantasy of nature, My Neighbor Totoro illustrates Hayao Miyazaki’s inspiration and the way he crafted the movie around topical concerns related to the destruction of the natural world. During 1988 and after World War II, Japan experienced an economic boom and underwent major changes related to industrial expansion, and the threat of globalization, which Miyazaki feared would result in the loss of its country’s identity and a need to reinvent itself (Bipasha 2022, 99). My Neighbor Totoro’s thematic and composition for nature juxtaposes the real-life world and society and how nature is treated. Due to the popularity of the film, there has been a dark future of modern human life and almost alienating nature where the rural lifestyle may become extinct (Fujiki 2015, 156). The film, therefore, shows Miyazaki’s concerns about how people are losing touch with nature, and using fantasy, he articulates the pleasure involved in reconnecting with its many elements. According to Raz Greenberg, Miyazaki drew further inspiration from nature to depict emotional themes in his films, such as the Panda Kopanda films, which inspired the design of Mei’s character and the fantasy of friendship with a big, furry creature (Greenberg 2012, 106). By linking wild natural landscapes to childhood emotions, Miyazaki infuses his work with a sense of wonder and connection to the environment. Through his imaginative portrayal of nature, he creates a realistic yet fantastical setting that resonates with viewers of all ages.

My Neighbor Totoro combines fantasy and animation show nature through an imaginative lens. The film not only helps to show nature and its beauty and wonder but also makes people feel reconnected to it, especially important with the thread of modernity. Miyazaki gave great importance to the connection between nature and family which creates a sense of reconnection and nostalgia for a time that is slowly slipping away, all supported by the beauty and simplicity of nature.

**Article published: February 28, 2025**

References

Bipasha Mandal. 2022. “The Insertion of Cultural Identity and Ecological Recovery through a Critique of Materialism and Overconsumption in Spirited Away and My Neighbor Totoro.” Postscriptum: An Interdisciplinary Journal of Literary Studies 7, no. 1, available at: https://zenodo.org/records/6432755.

Fujiki, Kosuke. 2015. “My Neighbor Totoro: The Healing of Nature, the Nature of Healing.” Resilience: A Journal of Environmental Humanities 2, no. 3: 152–157.

Greenberg, Raz. 2012. “Giri and Ninjo: The Roots of Hayao Miyazaki's My Neighbor Totoro in Animated Adaptations of Classic Children's Literature.” Literature/Film Quarterly 40, no. 2: 96-108.

Biography

Bryan Le is a graduating student from the University of Texas at Dallas, Harry W. Bass Jr. School of Arts, Humanities, and Technology, with a concentration in Games focusing on programming and narrative writing. Loves doing programming but has a great appreciation for animation of all kinds. Earlier versions of this text were developed with the help of Dr. Christine Veras and peers from the Animation Studies course.