It's always a marvel to watch films where the filmmakers have actual ideas and put in the effort to flesh out and develop its characters, who are so much more than just your average copy-and-paste cardboard cutout impressions like so many others make, so that they can tell those ideas in a manner that is real and impactful. Even the father character, who by all rights I should hate...I don't, because there are reasons, both explicit and implied, that kind of help explain why he is the way he is, and you have Chie being constantly let down and frustrated and embarrassed by him, but still trying to care for him, trying to help him along in the little ways that she can because she is both clever and loving in her own ways, and so you have what would almost always be just a cheap and annoying character pretty much anywhere else take on depth and even a kind of sympathetic quality. I sometimes forget that it is possible for filmmakers to accomplish this kind of thing (even with animated films over 40 years old set in a time, place, and culture so different from my own!) - probably thanks to the endless deluge of films that don't really try because they expend their run-time on things that are apparently much more important than the foundation that is organically telling your story through your characters, right up until I experience a film like this again. Takahata was somehow consistently able to accomplish this feat, particularly in the films that he wrote or helped write himself...and I can't help but notice that the one film of his that I didn't much like, he has no writing credit for.
Of course, I am hugely biased in that I prefer my plots, characters, and themes to be written in a very particular manner...but man, when I look at how Takahata told his stories compared to something like Utena, it feels like a child must have been at the helm of the latter for it to have been the way that it was.