It probably isn’t to every cineastes taste to see POMPO THE CINEPHILE as a childhood discourse on the wonder of film. Based on a popular anime from Shogo Sugitani and then combined into a collection. This flipped to a TV movie for release in July 2021 in Japan. Here we are, 6 months later and we have the English subbed and dubbed version to delight in (kind of). After all, these projects can be both a blessing and equally, a bloody curse for the viewer. I never read the anime but was aware of the series, much because of its rather interesting talent of teaching the viewer about the mechanics (and masochism) of being a film maker and, more so, a film lover. Now I would like to direct you to a very good review from ALLTHEANIME in regard to the film here https://blog.alltheanime.com/pompo-the-cinephile/. This gives textures on the film and anime series that I wont cover.

Joelle Davidovich Pomponette, or Pompo is a producer and grand-daughter of a famous studio founder. She prides herself on making films but churns out (happily) B- grade pictures like Guns Akimbo and Zombizarre. Her latest is a creature feature from the sea called Marine. Gene is her assistant and wants to be a film maker. Though Pompo is a task master, she wants him to succeed and grants him the opportunity to do so. So as he cuts together the trailer for Marine, Gene shows he might just have what it takes to be the next big thing in the world of Nyallywood and the big screen classics!

Pompo the Cinephile began life in 2015. It was a throwaway instalment of a late-night animated comedy show, created by Shogo Sugitani. After that flopped he was left with the genesis for a series about the erstwhile producer and her dreaming of director. This is the stuff of wanna be film makers wet dreams. The interesting thing here is the hard work, warts and all approach, never skimps from showing us the truth of how actually to make it, is to have eyes on more than just another film. The films has characters who strive, work, decide, define and grow into the industry. They do not just make a film, win an award, be heralded as the saviour of cinema and all that. It also is unapologetically frank about the cinema of ‘worth’. Films are a mix of business and pleasure. Of art and commerce. Of greed, desire and delight. The brilliance of POMPO is it never shirks from being honest (if in a child like way), to tell us how it is. If you are starting a film course or have an interest in the subject, this is the unvarnished truth. Exceptionally expressed and lovingly told.

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