Remember Bing Bong from Inside Out? This time, there’s a whole world of imaginary friends that don’t fade into the recesses of a child’s mind– instead, they transfer to another place, ready to take on the imaginations of children around the world. That’s the basic premise of The Imaginary. Of course, Studio Ponoc’s third film has been at least partially inspired by Studio Ghibli, with some of its staff having their start there, and with the film’s dreamlike portals and strange cats, but the film takes a more straightforward approach to its story and analogies. As Rudger fights against Mr. Bunting, the film examines, well, imagination, but in all its forms– fodder for corporations to feed on, propaganda to calm the masses, but also as the innately human response to grief, as a mature solution to life’s troubles. The Imaginary may not be a stand-out, but we can’t help but applaud Studio Ponoc’s sincerity in celebrating human creativity.
"The Imaginary is more classical: it is designed and animated in a Miyazaki-esque mode to match the story, notwithstanding the pronounced use of CGI and small innovations like the dimensional shading on the characters."
— Alex Dudok de Wit
"A single frame of “The Imaginary” can outshine the mass-produced, visually uninspired animation in some of the American offerings targeting the same demographic."
— Carlos Aguilar
Amanda and her imaginary friend Rudger go on thrilling make-believe adventures. But when Rudger finds himself alone, he faces a mysterious threat.
Rudger is a boy no one can see, being Amanda’s imaginary friend that shares her fantastical adventures. However, after a visit from a mysterious Mr. Bunting, the two friends are separated, with Rudger arriving alone at the Town of Imaginaries, a town under threat.
The way Rudger and Amanda got separated. It really had me gasping so loud that my neighbors were concerned.
If only this premiered in the US before If (2024)...
