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Chihiro is a 10-year-old Japanese girl who is not content with her parent's decision to move to the country away from their hometown. On the way to their new home, Chihiro's father turns off the GPS, facing the consequence of taking a wrong turn. They drive on a dirt road that leads them to an abandoned amusement park that is the ‘Spirit City’. Chihiro's parents want to look around, on the other hand, Chihiro refuses to do so, however eventually gives in. They walk past the deserted building and come across a stall that is stacked with warm, delicious food begging to be devoured. Chihiro's parents had been driving for quite a long time so they obviously were tempted to munch down as much as they could. Chihiro, feeling skeptical of it all, decides to leave her parents behind and explore some of the amusement park. A boy then appears, who warns her to leave imminently and Chihiro goes back to the stall and finds her parents have transformed into pigs. She then finds out that her family have stumbled upon the immense bathhouse run by the powerful witch, Yubaba. The boy she met earlier appears once again and learns that the shrewd worker kid is named Haku who likewise ends up having 2 forms: one a human and the other a dragon. Haku, being a master in the spirit realm, advises Chihiro to get a job from the infamous Yubaba as it would be the only way the spirits would ever accept her, and the only way she could rescue her parents. Chihiro must go through obstacles and an adventure to rescue her parents.
‘Spirited Away’ was the first Miyazaki movie I ever watched and was not prepared for it. From one perspective, I was dismayed what appeared to be to me a creepy, disturbing realm of randomly changing universes, with characters who waver among favorable and unsafe. Then again, I was overwhelmed by its inventive influence and visual lavishness. It was a standout amongst the most beautiful animated movies I have ever observed. It differs in its states of mind and symbolism: the repulsive glare and moving shadows and starts of the engine compartment with its insect-like chaperon Kamaji, the charcoal worker, Yubaba's fantastically rich lofts with her profound floor coverings and velvet upholstery; the capturing sight of the soul world train skimming the outside of a shallow sea. If there is any blame to be found in this masterpiece, it would be that it ends too early.
With everything taken into account, ‘Spirited Away’ stays one of my most loved enlivened motion pictures. It has everything that a film ought to have and the sky is the limit from there. The characters are phenomenal, the story odd and bold, and the activity is probably the best I have ever observed.
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