Much has been documented about the act of running, a healing activity with ability for cathartic release. In the sphere of professional sports, however, the strain of contests can lead athletes to forget of this ultimate goal. Adapted from the eponymous manga, Kenji Iwaisawa’s mesmerising anime transcends awards and honors to investigate the inner motivation that fuels an sports star’s dream.
The 100-Meter Film follows Togashi and Komiya, early-life buddies whose life paths separate when they go pro. Previously the fastest grade-schooler in Japan, Togashi guides the more uncertain Komiya with the basics. As the duo move through their teens and their 20s, Komiya steadily accelerates up the standings of premier sportspeople, while Togashi is stuck in a slump; both confront anxieties and insecurities. Encompassing more than 15 years, the story documents their internal hurdles, laying bare the struggles of an competitor’s existence, trapped in a loop of societal observation, performance expectations and endorsement requirements.
Possibly it’s due to the base story, but the movie’s approach to these intricate issues is a bit simplistic; time and time again, a character’s inner doubts quickly dissolve after a lengthy conversation with a fellow athlete or mentor. But what the film lacks in narrative subtlety and pacing, it redeems itself with in stunning imagery. Employing rotoscoping, in which drawn art is traced over filmed sequences, the film produces exquisitely intricate sprinting scenes. The bodily strain of a race is on full display, and the struggle and triumph of competition are etched on the athletes’ physiques.
One especially significant race concludes in the downpour, with cascades of monochrome brushwork that engulf the scene. Apart from conversation, these flourishes of stylistic brilliance capture the near-transcendent euphoria the film aims to provoke.
The Sprint Film is showing in the United Kingdom from November 16.
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