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She runs to the restaurant and finds that her parents have turned into pigs. In addition, the theme park turns out to be a town inhabited by demons, spirits, and evil gods.

At the center of the town is a bathhouse where these creatures go to relax. The owner of the bathhouse is the evil witch Yubaba, who is intent on keeping all trespassers as captive workers, including Chihiro. Chihiro must rely on Haku to save her parents in hopes of returning to their world.

Despite Chihiro's premonitions about the creepy setting, her parents explore the area and eventually discover and indulge in an empty eatery filled with fresh food. As a result of their unfaithfulness, they are magically turned into pigs, which in turn scares away Chihiro.

She meets the enigmatic Haku, who explains to her that this land is actually a magical bath house, a kind of holiday resort, where supernatural beings seek comfort away from the earthly realm and she must work here, as laziness is not permitted, to free both herself and her parents from the mystical land.

Tale of the fanciful adventures of a ten-year-old girl named Chihiro, who discovers a secret world when she and her family get lost and venture through a hillside tunnel.

When her parents undergo a mysterious transformation, Chihiro must fend for herself as she encounters strange spirits, assorted creatures and a grumpy sorceress who seeks to prevent her from returning to the human world. After her mother and father are turned into giant pigs, Chihiro meets the mysterious Haku, who explains that the park is a resort for supernatural beings who need a break from their time spent in the earthly realm, and that she must work there to free herself and her parents.

Chihiro and her family are on their way to their new house in the suburbs when her father decides to take a shortcut along a lonely-looking dirt road. After getting out of the car and walking along a path for a while, they discover an open-air restaurant filled with food but with no workers or customers present. Watch options. Storyline Edit. Chihiro and her parents are moving to a small Japanese town in the countryside, much to Chihiro's dismay.

On the way to their new home, Chihiro's father makes a wrong turn and drives down a lonely one-lane road which dead-ends in front of a tunnel.

Her parents decide to stop the car and explore the area. They go through the tunnel and find an abandoned amusement park on the other side, with its own little town. When her parents see a restaurant with great-smelling food but no staff, they decide to eat and pay later.

However, Chihiro refuses to eat and decides to explore the theme park a bit more. She meets a boy named Haku who tells her that Chihiro and her parents are in danger, and they must leave immediately. She runs to the restaurant and finds that her parents have turned into pigs. In addition, the theme park turns out to be a town inhabited by demons, spirits, and evil gods. At the center of the town is a bathhouse where these creatures go to relax. The owner of the bathhouse is the evil witch Yubaba, who is intent on keeping all trespassers as captive workers, including Chihiro.

Chihiro must rely on Haku to save her parents in hopes of returning to their world. The tunnel led Chihiro to a mysterious town. Animation Adventure Family Fantasy Mystery. Rated PG for some scary moments. Did you know Edit. Trivia Despite having a rich plot with developed characters, Sen to Chihiro no kamikakushi was not made with a script. In fact, Miyazaki's films never had scripts.

So the story develops when I start drawing storyboards. The production starts very soon thereafter, while the storyboards are still developing. The film makes itself and I have no choice but to follow".

Goofs After Haku flies out of the bedroom we see Sen's left hand touching more of the blood on the railing. The elevator attendant sees it on the same hand after grabbing her arm as she tries to board it. Not much later we see her looking at the same hand again before running across the pipe. It isn't till after being held captive by the baby under the cushions that the blood switches hands as he holds her by the left arm revealing no blood on that hand at all.

Quotes Zeniba : Once you do something, you never forget. Crazy credits The credits have a series of still images from the film. The last image before the film fades is Chihiro's shoe in the river. In truth, people are social animals, so it's not good for us to live without some sort of connection to society. We have to work. Because there's only a paper-thin difference between evil spirits and gods.

And on top of that, this film is set in Aburaya, a bathhouse. So once you open the doors, all sorts of things come in. No-Face is just a name and a mask, and other than that we don't really know what he's thinking or what he wants to do. We just named him No-Face because his expression almost never changes; that's all. But I do think there are people like him everywhere, people who want to glom on to someone but have no sense of self.

That's what makes our world. And since our heroine's a tad ugly, I thought without a fair and handsome boy, it would be too boring. I didn't draw her thinking that at all.

I wanted to depict a girl who would make viewers worry about what she would become in the future. And while I was drawing her, I thought that she would probably become cool.

Because they can change so suddenly. Take people's faces; I think that people create the faces they wear. So I didn't want to draw Chihiro with your stand cute-girl face. And I was right in making that decision. Character designer Masashi Ando initially wanted Yubaba's twin to be an older, taller sister. Miyazaki described Yubaba as the "everyman" type, and were "symbols of modern working people". As for his decision in creating the twin sister Zeniba , "Ultimately , when we were getting down to the wire in the latter half of the production, Masashi Ando , the animation director, begged me not to add new characters.

So I created a twin for Yubaba. Of course, in retrospect, it could have been taller, older sister and not just a twin. But either way, it's still really like two faces of the same person. When we're at work like Yubaba, yelling and making a mess and getting people to work, but when we go home we try to be good citizens.

This schism is the painful part of being human. Miyazaki further elaborated on Zeniba's true nature, "We skipped all explanations on the fact that Yubaba and Zeniba are really the same person. I'm that way too. I'm completely a different person when I'm at Ghibli, when I'm at home, and when I'm out and about in the community. In fact, I live in amost schizoid fashion. I was worried about how children would accept this aspect of the movie, but they seem to have accepted it with no problem at all, so I've been greatly relieved.

Some suggest that the film is an allegory on the progression from childhood to maturity, and the risk of losing one's nature in the process. True names having magic power are a staple of folks tales such as Rumplestilskin or Earthsea. Similarly, Chihiro and Haku stay under Yubaba's control forever if they forget their real names and consequently their real identities. The contract between Yubaba and Chihiro represented an old tradition in Japan where you had no right to refuse someone who really wanted to work.

When Miyazaki was interviewed by journalist Tetsuya Chikushi on January 11, , Chikushi noted shocking it was when Chihiro was told "if you say 'No! Miyazaki explained, "Recently my friends and I use the word asamashii [despicable or disgraceful] a lot.

It's a word that's fallen out of favor these days, but it seems perfectly suited to describe the current Japan. It originally refereed to things that should have been more embarrassing and shameful of all. Chikishi responded, "There's a problem with language in Spirited Away, isn't there?

Some of the key words for the young heroine are simple, such as when she declares repeatedly, "I'll keep working here". I watching this, thinking that you were trying to tell us how much power words have. Miyazaki then said, "Actually, we thought about having Yubaba use an actual labor contract of some sort there, but since no one would get it even if we included an explanation, we just left it with her saying, "we're using a boring old oath.

Because that's the kind of society Japan originally was; people had to give work to those who wanted it. To want to work is to want to live. To live in a specific place. We skipped all the explanations. The same with the fact that Yubaba and Zeniba are really the same person. In fact, I live in most schizoid fashion. I was worried children would accept this aspect of the movie, but they seem to have accepted it with no problem at all, so I've been greatly relieved.

The main character is a very modern Japanese ten-year-old who's being forced to grow up and adapt when faced with more traditional Japanese culture and manners.

Miyazaki himself has said that there is an element of nostalgia for an older Japan in this film and several of his others. Miyazaki also included a theme advocating the prevention of greed: those swallowed by No-Face were attempting to receive the gold he made. Similarly, in a monomyth format, Yubaba's rich accommodations and interest in gold dominate the "road of trials" portions of the film, while Zeniba's rustic home and grandmotherly demeanor arguably mark Chihiro's gain of the "boon" in her quest.

Also, Chihiro's parents' grotesque transformation after consuming too much food not meant for them is another representation of human greed, and may also be a reference to The Odyssey.

Environmental awareness is a theme explored by Roger Ebert. The most obvious examples of this are the river spirit's dramatic and beautiful transformation once he has been freed from the material dumped in him by humans, and Haku's discovery that the reason he cannot go home is that the River Kohaku, whose spirit he was, had been filled in by apartment buildings. Seiji Okuda center and his then year-old daughter helped give Miyazaki a starting point to work on the film. Following the grueling production of Princess Mononoke Miyazaki considered retiring once again to focus on his personal projects, such as opening the Ghibli Museum.

He did not think he would be able to embark once again on such a long and tiring experience. His stance changed upon meeting the daughter of his friend Seiji Okuda , on whom the main protagonist of Spirited Away is based. Chihiro's father, Akio Ogino , was based on the real-life father of the girl Chihiro is based on.

Miyazaki said Okuda is similar to Akio in that he had a habit of getting lost while driving and ate too quickly. Chihiro's best friend's name is Rumi the one who gave her the flowers in the opening , which is the name of Chihiro's voice actor. As with his other film projects, the initial idea germinated several years before becoming the film we know. A member of the Studio Ghibli team loved this book when he was about ten, and read it many times. Like Japan's most famous children's writer, Kenji Miyazawa another source of inspiration for Miyazaki , Kashiwaba is from Iwate.

The story goes that during the summer holidays six year old Rina is sent on her own to stay in the village in the countryside where her father had stayed as a child. Where Rina gets off the train, the village people are only half convinced that her destination, the valley of mist, exists, but following their uncertain directions, she sets off, and helped by her umbrella, which gets blown away so that she has to chase after it, she finds herself in a strange one street village.

The house where she will be staying belongs to a tiny old lady, who seems perpetually angry and delights in putting people on the wrong foot. If there's one thing I hate, it's dawdlers," the voice she had heard earlier sounded angry. Rina inched fearfully into the room. By the window there was a big flowery sofa, and on that sofa, like a black fleck, a little old woman was sitting.

The old woman did not look at Rina. As if she knew who it was without looking, she went on eating her biscuit and drinking tea. Rina, not knowing what to do, stared at the old woman who was ignoring her. Finally, the old woman broke the silence, "Six years old and you still don't know how to greet a person.

Anyone who stays in her house must work while they're there," she tells Rina. Miyazaki likened the bathhouse to how Studio Ghibli is run, and made comparisons to its producer Toshio Suzuki.

So Rina helps in the house or is sent to the different shops that make up the village. But this is no punishment, as they are all fascinating places run by different magicians. As she works Rina becomes more self confident and finds her true character.

Miyazaki didn't understand why he found this story so interesting and, intrigued, he wrote a project proposal around it, but it was also rejected. Another source of inspiration for Spirited Away was, by its director's own admission, Studio Ghibli itself. Thus the intense activity that reigns in the bathhouses evokes that of the studio. Chihiro , she has to work hard if she does not want to disappear, which is equivalent to being sent back to the studio.

Yubaba's opulent apartment floor was inspired by places like Romkumeikan Top and Meguro Gajoen Bottom. In an interview on the film's Roman Album dated September 10, , Miyazaki refers to the strange world Chihiro wanders into as Japan itself.

That's what Japan was like until just a while ago. I felt a real sense of nostalgia when depicting them. We've forgotten what the buildings, streets, and lifestyles were just like a little while back. I think that for us Japanese, what seems really deluxe is to have something that is a mishmash of a traditional-style palace, a grand Western-style or quasi-Western style mansion, and something like the Palace of the Dragon King, and then to live in it, Western style.

The Aburaya bathhouse, I should say, is really like one of today's leisure land theme parks, but it's something that could have also existed in the Muromachi and Edo periods. So we're ultimately depicting is the real Japan.

Unlike the designs of gods seen in ancient scroll paintings like Hyakki yagyozu , Spirited Away's gods are more modest in design. As for the depiction of the spirits, Miyazaki mentions how Japanese gods are quite modest in design. What Miyazaki is trying to say is that Japanese spirits "originally never had a form. And if people give them form without being careful, they start looking like yokai. But even that's vague since all the yokai in the famous scroll painting Hyakki yagyozu were all given forms after the fact.

So in principle, I didn't want to depict my Japanese spirits to be based on any existing images. But one exception is the masks at Kasuga Taisha shrine. When I saw photos of them, they were too fascinating not to use as reference. When I gave form to the spirits, I didn't want them to look like deities. So if you ask my why I depicted the spirits the way I did in the film, it's because I think Japanese gods are probably quite exhausted.

So it made sense to me that they would want to come to a bathhouse and stay two nights and three days. Sort of like the Shimotsuki festival. Finally, another starting point for Spirited Away is an anecdote told by Suzuki to Miyazaki. The latter spoke of hostess bars, where the latter are often shy, forced to learn to communicate with men.

They pay to be able to express themselves as well. This image has remained etched in Miyazaki's mind and exploited it in his film: Chihiro is forced to learn to express himself when she is serving in the baths, while No-Face fails to express himself. All these elements combined led to the creation of the final proposal of the film. Production of the film began at the end of and ended in June As usual, Hayao Miyazaki realized that the film would last more than three hours, if he had made it according to his original proposal.

Much of the original script was cut to expedite the film's length. Due to relatively tight production deadlines one and a half years instead of three for Princess Mononoke , Spirited Away is the studio's first film not to have been entirely made in Japan.

The development of part of the scenes was therefore entrusted to the Korean studio DR Digital, which had already worked on animated films as prestigious as Metropolis or Jin-Roh. Here he denies that the backgrounds in Spirited Away were inspired by the shops at Jiufen in Taiwan. Hayao Miyazaki sought authenticity in the representation of the bathhouse, admitting to having been inspired by the buildings at the Edo-Tokyo Open Air Architectural Museum , which was near the studio where he liked to walk.

Its park indeed offers a reconstruction of the Japanese capital, between the 17th and the beginning of the 20th century. For Miyazaki, to represent this place is to plunge the Japanese viewer into a certain nostalgia.

Ghibli staff conducted location scouting at this park on March 17, The public bathhouse Kodakara-yu was Miyazaki's favorite exhibit, and many of its details were used as reference when designing the bathhouse in the film.

Meanwhile, the film's bathhouse's girl's dormitories was based on the Japanese garment factories from the s. It has been claimed that Miyazaki was inspired by the shopkeepers at Jiufen, a town near Taipei in Taiwan. However, when Miyazaki was asked about this by Taiwanese media, he denied it. Yoshida painted the fusuma painting of a giant demon seen here. Art director Yoji Takeshige and assistant art director is Noboru Yoshida helped to refine Miyazaki's original e-konte and image boards.

Takeshige ran the drawing department, and helped guide many of the new hires at the studio as production began to ramp up. Normally, background art production is done in three stages. A rough drawing of the background is laid out, and an art board is drawn over it to serve as a guideline before actual background painting begins.

The head of this process specifies the color and texture in detail. For Spirited Away , Takeshige did not create the art setting as Miyazaki already created the background via his e-konte storyboard.

Art director and background artist Kazuo Oga , who previously worked on My Neighbor Totoro , worked on the opening backgrounds before Chihiro's family enters the theme park, and the natural landscapes towards the end of the film.

Noboru Yoshida was in charge of the fusuma painting of a giant demon in the bathhouse. The grueling work at Studio Ghibli, and the storyboards for the film.

Many employees reported working to exhaustion. Likewise, for the character design of the characters, the director was inspired by those close to him. Chihiro is the faithful representation of the little girl who motivated him in making the film.

Chihiro's father is the faithful portrait of the little girl's father, particularly in his voracious attitude. The mother of the heroine is the carbon copy of a regular Miyazaki collaborator within the studio. This was clearly his attempt at anchoring this fantastical work to contemporary Japan. With regards to the animation of certain scenes, Miyazaki showed great concern for realism. He explained in detail the movement of Haku, in the form of a dragon, falling to the ground, akin to a lizard or a green snake wriggling on a wall and suddenly collapsing.