Ponyo on the Cliff is the latest movie from internationally acclaimed veteran anime director Miyazaki Hayao and Studio Ghibli. The story of a boy and a magic goldfish, Ponyo is in many ways similar to Miyazaki’s previous works with its theme of environmentalism, detailed animation and settings, as well as its focus on strong female characters, but it’s also quite different from what’s come before it in a number of areas that make it possibly the most divisive Miyazaki (though not necessarily Ghibli) movie to date.

Ponyo is a pure and unfiltered product of Miyazaki’s imagination. His talent in creating visually rich animation is at the forefront. From majestic waves morphing into fish-like shapes and engulfing mountain roads, to a quiet moment eating noodles, every moment big and small is given a considerate amount of attention. Anything that takes place underwater is particularly impressive, as Ponyo gives a real sense to the viewer of the life and activity present in the sea. Also of note is the fact that in an age where almost everyone in anime, let alone animation as a whole, has moved on to creating their works digitally, Ponyo has been animated entirely by hand using cel animation. Though I don’t believe cel to be superior to digital or vice versa, it is comforting to see the old ways still being used, especially by an old master such as Miyazaki.

So what’s the tradeoff then? When you have an unrestrained Miyazaki, a man whose actions are so founded in his sense of artistry and priorities, leading theproduction, there has to be some give.  In the case of Ponyo, it’s the story which is pushed aside. It’s not so much that the story suffers because of inconsistencies, or that it’s poorly written; rather, the possible issue here is that the story is almost non-existent.Ponyo doesn’t bother to weave a cohesive story building up to a climax and resolution, and is instead content to animating simple and relatively harmless scenes loosely connected together by an overarching plot that’s barely there. Ponyo does not feel like a movie, and when I say that I’m referring to cinema at its most fundamental levels.

The reason Ponyo can be divisive is that depending on what you prioritize in movies, it can either be a fantastic and deeply moving movie, or it can completely fail to get an emotional reaction out of you. The same can be said for a lot of movies, but in the case of Ponyo, it’s really true. If you put great emphasis on story, Ponyo may not be the movie for you, but if you’re all about bared emotions seeping through the visual design and atmosphere, then Ponyo is a must-see.