Nausicaä of the Valley of the Wind is one of Japanese classic films produced by Ghibli Studio based on the Manga illustrated by Miyao Hayazaki in 1984. It’s just worth watching now.

Wikipedia - Nausicaä of the Valley of the Wind

Miyazaki's work on Nausicaä of the Valley of the Wind was inspired by a range of works including Ursula K. Le Guin's Earthsea, Brian Aldiss's Hothouse, Isaac Asimov's Nightfall, and J. R. R. Tolkien's The Lord of the Rings.[10] Dani Cavallaro also suggests inspiration from The Princess Who Loved Insects folktale, and the works of William Golding.[6] Nausicaä, the character, was inspired in name and personality by Homer's Phaeacian princess in the Odyssey.[6] Frank Herbert's science fiction novel Dune (1965) was also a major source of inspiration for Nausicaä.[10]Miyazaki's imagination was sparked by the mercury poisoning of Minamata Bay and how nature responded and thrived in a poisoned environment, using it to create the polluted world depicted in the movie.[6] Ian DeWeese-Boyd agrees, "Her commitment to love and understanding—even to the point of death—transforms the very nature of the conflict around her and begins to dispel the distorting visions that have brought it about."[12]
The most prominent themes are the anti-war and environmental focus of the film. Nausicaä, the heroine, believes in the value of life regardless of its form and through her actions stops a war. Loy and Goodhew state there is no evil portrayed in the film, but the Buddhist roots of evil: greed, ill will and delusion. Fear is what drives the conflicts, the fear of the poisoned forest results in greed and resentment. Nausicaä, in addition to being a transformative force, leads people to understand and respect nature, which is portrayed as welcoming, spiritual, and restorative for those who enter it peacefully.[13] Kyle Anderson of Nerdist describes the film's setting as a steampunk post-apocalypse,[14] while Philip Boyes of Eurogamer describes the technology in Nausicaä and Castle in the Sky as dieselpunk.[15]
The film was released, in 1984, with a recommendation from the World Wide Fund for Nature (WWF).[16] On 30 July 1995, a subtitled version of the film was screened at the Institute of Contemporary Arts, in London, as part of the "Building Bridges" film festival, marking the fiftieth anniversary of the atomic bombings of Hiroshima and Nagasaki.[10] In her 25 March 2013 presentation at Colorado College, on "Tapestries of Apocalypse: From Angers to 'Nausicaa' and Beyond", Dr. Susan J. Napier places the film, and in particular the tapestry depicted underneath the opening credits, within the tradition of artistic representation of apocalypses and apocalyptic visions. She explores the role such expressions play in understanding apocalyptic events and post-event recovery.[17]