A great deal has been documented about the act of running, a restorative movement with capacity for emotional liberation. Within the context of competitive games, yet, the pressure of contests can lead athletes to forget of this ultimate goal. Adapted from the same-named comic, Kenji Iwaisawa’s mesmerising anime looks beyond trophies and medals to explore the inner motivation that spurs an competitor’s aspiration.
The 100-Meter Film traces Togashi and Komiya, early-life buddies whose career trajectories diverge when they turn professional. Formerly the speediest young pupil in Japan, Togashi assists the more uncertain Komiya with the essentials. As the pair move through their youth and early maturity, Komiya progressively advances up the standings of premier sportspeople, while Togashi is mired in a rut; both confront fears and doubts. Spanning more than 15 years, the story documents their mental obstacles, laying bare the struggles of an athlete’s life, locked in a cycle of public scrutiny, achievement demands and commercial obligations.
Possibly it’s because of the source material, but the movie’s approach to these intricate issues is somewhat facile; repeatedly, a lead’s mental struggles quickly dissolve after a extended discussion with a peer or a senior. But what the film lacks in story nuance and pacing, it redeems itself with in breathtaking graphics. Utilizing rotoscoping, in which drawn art is superimposed on real-life video, the movie generates exquisitely intricate running sequences. The bodily strain of a dash is visibly evident, and the pain and the joy of rivalry are etched on the characters’ bodies.
One especially significant race concludes in the downpour, with cascades of grey strokes that engulf the frame. Beyond spoken words, these bursts of stylistic brilliance capture the near-transcendent euphoria the film aims to provoke.
100 Meters is in UK cinemas from 16 November.
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