At the end of the eighties, a film as influential as Akira (1988), by Katsuhiro Otomo, and the television series Dragon Ball, created by Akira Toriyama, ignited the wick of an animefilia that was to become a sign of generational identity. From that moment on, western markets were no longer going to be oblivious to the diversity of forms and proposals of both Japanese comics and animation: far from inspiring a seasonal phenomenon, cultural boundaries were permanently opened. As the first loves leave indelible marks, the saga created by Toriyama has managed to survive until the present, reformulating itself through progressively epic mutations that have culminated in the production of the series Dragon Ball Super (2015-2018), which has its first cinematographic derivation in this Dragon Ball Super: Broly, 20th feature film of the saga, which, surprising as it turns out, has become the most profitable production of the veteran franchise.
DRAGON BALL SUPER: BROLY
Address: Tatsuya Nagamine
Gender: Science fiction. Japan, 2018
Duration: 100 minutes
Anyone who does not participate in the cult of the Dragon Ball universe will wonder if the proposal has an interest beyond the perks designed by the fan. With Toriyama himself taking charge of the script, the film incorporates some humorous point – the villain who wants to gain height, the modest desire for rejuvenation of Bulma – in a set dominated by epic hyperbole. Let no one expect a model animation Ghibli, Hosoda, Shinkai or Yonebayashi, but the energetic way in which the final combat flirts with abstract animation is worthy of being celebrated.