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The woodcutter and his wife raise the child as best they can – they call her Princess, although the local children prefer Little Bamboo, because she grows at fearsome speed. When a cache of gold and fine fabrics is discovered in the same bamboo grove, the woodcutter and his wife decide the gods must want their girl to be raised as a noblewoman, so they start a new life in the city, in a lavish mansion, surrounded by handmaidens who glide around like teardrops wrapped in silk.

Various princes try their best to woo the princess, who has now been given the name Kaguya, after reaching her teenage years in the space of a few weeks. The Tale of Princess Kaguya But courtly life soon loses its appeal, and Kaguya pines for her simpler, country life – as well as wondering when the spirits that first placed her inside that bamboo shoot will come back to reclaim her.

Like Miyazaki’s final film, this feels like an intensely personal project for Takahata. The hillsides and forests of its early scenes recall Heidi, A Girl of the Alps, an animated series on which he and Miyazaki collaborated in the Seventies. (The baby princess moves exactly like babies do, and the way she toddles after frogs and nuzzles wild piglets is impossibly cute.)

Then, in its later scenes, the film becomes a kind of Buddhist Close Encounters of the Third Kind: as intensely but playfully spiritual as Takahata’s not-widely-seen-enough 1994 film Pom Poko, with flying arrows transformed into garlands of flowers, and dreamy flights across meadows and lakes, while larger themes of mortality and impermanence are also addressed.

There are certainly lulls in the film’s middle act, as Kaguya wrestles with the various niceties of life at the medieval Japanese court, and at more than two hours, the tale as a whole feels slightly overextended. But for the most part, this is a rich and astonishing swan song for Takahata, whose love of mischief and tender, expressionistic style have been essential steering forces at Studio Ghibli.