The Academy Award winning, former highest grossing film in Japan, “Spirited Away,” transcends international borders and language barriers to form connections with any viewer. Though it is perhaps not Hayao Miyazaki’s finest film, its landmark status is unmistakable. “Spirited Away” is a wonder of animation, capturing the marvel and joy of the medium. The film is returning to theaters for a limited run at the end of the month as the latest installment of Studio Ghilbi Fest, a six-film monthly series of classic anime films.

Miyazaki’s films approach the concept of plot with varying degrees of commitment, and “Spirited Away” is somewhere between “Totoro’s” mellow stroll from moment-to-moment and “Princess Mononoke’s” sprawling, character-driven epic. Chihiro is a 10-year-old girl whose family stumbles upon a seemingly abandoned carnival on the way to their new home. As it turns out, it is a supernatural bathhouse where spirits of all forms come to relax. When meddling in this world turns her parents into swine, Chihiro must work at the house to protect her soul while looking for a way to escape with her parents.

If “Spirited Away’s” status as Studio Ghibli and Miyazaki’s iconic masterpiece is because of one thing, it is that very few animated films have created such stunning and immersive worlds. The film is one of the greatest examples of the animation medium, where a creator has control over every single detail. The bathhouse of the spirits is one of those rare locations that balances wonder, curiosity, frights, adventure and imagination in a way only a child’s mind can. Every creature is spectacular. Every frame of this world bursts with personality. Chihiro’s story is an engine for us to be introduced to one of the most fascinating, exciting worlds to be seen on film.

The best example of this, and perhaps Hayao’s career-defining scene, is the train sequence. A group of characters sit on a train in silence as they glide across water. The scene, following some particularly intense action, is extraordinary — a moment of thoughtful, gorgeous world building and mood that most children’s films would never dare to have. No studio is better at creating mood, atmosphere and magic through drawings.

Whereas in “Totoro” the story and characters are mostly a vehicle to give the audience this mood, “Spirited Away” has a fascinating premise and central character. Miyazaki’s goal to make a believable young female character was a success, as Chihiro is one of his finest protagonists. Chihiro, who hosts some of the greatest facial expressions of any hand-drawn character, is funny, empathetic and a bit annoying, making the fictional world feel all the more believable. However, the fascinating starting point of her trying to escape with her parents often gets muddled and lost with subplots, as the incredible world often consumes the plot.

Though “Princess Mononoke” is Studio Ghibli’s exemplary work, “Spirited Away” shows exactly what makes the studio magical. There are few films that create such rich, imaginative, genuine and magical worlds — films that capture a kind of childhood spirit in the ways that “Calvin and Hobbes” and “Peanuts” have. “Spirited Away” is essential viewing and a must to experience on the big screen.

“Spirited Away” will return to select theaters on Oct. 29, 30 and 31.

Email Carter Glace at [email protected].