The Imaginary review: Gorgeous anime adventure from Ghibli producer

If ever you were concerned what a world without new Studio Ghibli movies might look like, fear not: The Imaginary proves the production house’s sense of magic is already in safe hands.

It’s to be expected, since the anime movie is written and produced by Yoshiaki Nishimura, a former Ghibli producer. Made by Studio Ponoc, Yoshiaki’s own company, The Imaginary turns the book of the same name by A.F. Harrold into an enchanting feature that isn’t afraid to relish in the shadows.

The title refers to imaginary friends, creatures of all stripes formed by the creative impulses of regular people. Once created, an Imaginary is tethered to their person until they’re forgotten or something else severs the connection.

Best friends forever, imaginary or not

Netflix

Rudger is one such friend, the reliable bestie to Amanda, whose single mother runs a small bookstore. They go on extravagant adventures together, visiting snowy mountains filled with giants and the like.

Their kinship gets disrupted by Mr Rudger, a menacing older man accompanied by a ghostly Imaginary of his own. His predatory fixation on the pair puts Amanda in jeopardy and sets in motion an existential crisis for Rudger.

Childlike curiosity and wonder permeates The Imaginary, evident from the colours of Amanda’s bedroom right through to the glorious song-and-dance of the society of Imaginaries Rudger finds. Studio Ponoc and director Yoshiyuki Momose treat the concept as an excuse to lower their own inhibitions, taking any chance to include more brightness and movement.

Trying to save Amanda, Rudger stumbles on a library full of imaginary pals that have found a second life together, invisible to the outside world but still present and satisfied by their own continued existence. The Imaginary fixates on the idea of our reality being full of magic, if only we push ourselves to see it and feel it.

Studio Ghibli-like in all the right ways

It’s a theme the legendary Hayao Miyazaki frequently employs, and Yoshiaki, having produced Howl’s Moving Castle and The Tale of the Princess Kaguya, seems eager to carry on the idea. Every character has a distinct shape and presence, from their body to their voice, that beckons us to consider what our own invented bestie would be.

Rudger himself takes after young protagonists such as Chihiro and Satsuki in seeing the world as a sprawling maze full of streets and alleys. He explores with wide-eyed urgency, dedicated to Amanda, but amazed and fearful at every turn.

The focus on him is key to The Imaginary’s depth, because he taps into potentially bittersweet memories. When was the last time you played with your imaginary friend? Did you even have one? What was their name? You could bring them back, if you wanted – imagination is boundless and entirely of your volition, you know.

Not a real boy, but real enough

Netflix

As a protagonist, he plays with tropes around artificial life and how we approach the inhuman. Imaginaries aren’t robots, so they aren’t a threat like AI. They matter only to their makers, and in that, Rudger is crucial, because Amanda needs him.

The Imaginary review: 4/5

The stakes are similar to Toy Story and Inside Out – a child’s innocence is under threat, and when a story threads that needle right, there’s nothing more anxiety-inducing. In a happy coincidence, The Imaginary arrives on the heels of Inside Out 2.

The latter is in theatres. If you’ve seen it, The Imaginary being on Netflix would make for an excellent double-bill. Just keep a comfort toy – real or imaginary – close-by.

The Imaginary comes out on Netflix July 5. Check out our upcoming anime and new movies lists for what else you should be aware of.