When an anime film comes to the big screen it’s always a big deal. Honestly, it doesn’t happen very often, so each new film feels like this huge event. Pompo: The Cinephile was no exception. Even before watching, it was obvious that Pompo was going to be something special. As an avid anime fan and movie enthusiast, how could I not enjoy Pompo: The Cinephile? A film that is, in its essense, a massive love letter to cinema itself, as well as an appreciation of the magic that happens behind the camera. Watching a film is one thing… Actually making a film is an entirely different experience.
Synopsis
Pompo is a talented and gutsy producer in “Nyallywood,” the movie-making capital of the world. Although she’s known for B-movies, one day Pompo tells her movie-loving but apprehensive assistant Gene that he will direct her next script: a delicate drama about a tormented artistic genius, starring the legendary and Brando-esque actor Martin Braddock, and a young actress seeking her first break. But when the production heads towards chaos, can Gene rise to Pompo’s challenge, and succeed as a first-time director?
Review
Pompo: The Cinephile is a love letter to cinema in many different ways. As with most movies, there is an emotional weight that guides the audience through the narrative. These emotional drivers would be Gene Fini and Nathalie Woodward, two big dreamers who finally get their opportunity in the spotlight. As we follow them on their quest to learn more about themselves and what they need to achieve to join the big leagues, the realm of cinema opens up completely. Not only do we receive a obviously watered down glimpse at the process behind moviemaking, we’re also given a visually striking discourse that explores the importance of cinema and the ways in which it resonates within us.
This film, at its core, is about how audiences connect with films and how that emotional attachment to a single story can be used to influence your own forms of expression, your work, and your decisions. It’s all about finding yourself in that film, and Pompo is very layered in that regard. The characters are incredibly relatable, particularly Gene. But the film that these characters are making incorportate extensions of Gene’s personality and you start to see those elements shine through. Relating to Gene, which was almost instantaneous, meant also relating and becoming heavily invested in this fictional film and the characters of that story. Gene’s inner thoughts, anxieties, fears and passions are reflected in “Meister”, the film within the film, and because we spend so much time absored in that world, it doesn’t take too long to grasp the sadness that latches onto Gene. He doesn’t have to say anything, it’s all laid out in front of us while he’s directing. It’s the classic tale of show don’t tell, and even with a strict runtime, Pompo does nothing but show.
It’s impossible to talk about an anime without addressing the animation itself. Now, Pompo does something incredibly fascinating. There are these two different animation styles that separate the two stories that are running adjacent. You have the typical “real world” style that is still absolutely wonderful, but it’s the animation for “Meister” that helps make Pompo a visual treat. It’s like the studio held onto the budget specifically for the “Meister”. Not only is the animation incredibly fluid and detailed, the way in which the camera is used to mimic the more prestigious style associated with critically acclaimed films takes Pompo to a different level. The framing, the smoothness, and stunning details just elevated Pompo. I remember walking out wanting to see “Meister” in its entirety. It looked like a genuinely great film, and the animation certainly helped create a clear distinction between the two worlds; the film itself and the world behind the camera.
Now, that’s not to say that the animation outside of “Meister” was lacking in any vibrancy or vigor. Quite the opposite, actually. While Pompo focused purely on the creative side of cinema, some typical anime-esque elements leaked through brilliantly. There are some fantastic visuals implemented that add an element of fun to what could be considered a rather tedious process associated with film editing. As someone who has had a bit of experience in regards to editing, I thought it was quite ingenious. Pompo is really playful with its animation and aesthetic. It nails the cinematography with some excellent parallels between Gene and “Meister”‘s main character, and is actually rather powerful but in a way that doesn’t come across as obnoxious or self absorbed. Pompo doesn’t try to assert any sort of high cultural dominance, but it knows that in order to pay homage to some of the best films and techniques it needs to embody those aesthetical decisions. It’s a really fun contrast.
Pompo: The Cinephile perfectly respects the evolution of cinema through its visuals. However, these various methods used to evoke the spirit of Hollywood never distract you from the key story and its message. This film may be one huge love letter to cinema, but it is also a message to the dreamers, and to those who may feel alone. There is a Gene Fini and Nathalie Woodward inside all of us.
Filled with a brilliant soundtrack, lovable characters, and stakes that actually feel rather high (without the stress), Pompo has everything you could ever want in a film. While not 100% accurate, if you’re curious as to how movies are actually made and what happens after filming is complete, Pompo is actually a pretty decent introduction. It was nice to see certain aspects highlighted. Typically we associate movies with just the actors and directors, but so much more goes on behind the scenes, from the creation of the first teaser to the stressful endeavour to finance reshoots. Pompo shines a light on the aspects we don’t hear much about, that in itself makes it an awfully exciting journey.
Verdict
Pompo: The Cinephile is a ridiculously fun and moving tribute to cinema. It’s able to achieve so much in so little time. There’s a powerful message at the centre of the film that gradually reveals itself towards the film’s climax, and that touching message is never lost while we’re taken away to the world of Nyallywood. If you’re an anime lover and film fanatic, then Pompo: The Cinephile is an absolute must.
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Unfortunately, Pompo: The Cinephile has had its time on the big screen. Considering that it’s a film purely about the cinema experience, it’s somewhat ironic that it had such a tiny release window. If you missed it, let’s hope that the film gets a physical release sometime in the future. Make sure you keep your eyes peeled for more from Anime Limited.
The next anime film heading to the big screen is Masashi Ando’s The Deer King which is coming out on 27th July. For more anime news, click here.
