Very few films begin by telling the audience the ending in such a blatant manner as ‘In the end, Emilia dies and Julio does not die’. But in a film like this, obviously that fact is less important than the route it will take to get there – and soon one wonders if that is even the truth, and indeed why we are being told this.

Julio lies to his girlfriend that he is working for a famous novelist, editing his upcoming book. Forced to continue the lie, he begins to write a novel of his own, claiming it to be the author’s and letting her read it each night. He cannot tell her that he is actually sharing with her the story of his first love.

BONSAI is beautifully told in hopelessly romantic, clunky segments that jump between the present and the past, constantly blurring the lines between reality and the fiction that Julio is writing. The delivery is clearly inspired by Wes Anderson’s style of deadpan, straightforward dialogue and action that results in some decent comedy. However, this also hints at a sense of self-awareness, and at times, like the opening line, the film does take itself a little seriously. That is not to say that it is any less enjoyable, and some genuine moments both of humour and poignancy are captured. The cinematography is very much a part of that, and the whole of each frame is used well, firmly rooting the characters in the buzz of the city of Santiago.

…clunky segments jump between the present and the past, constantly blurring the lines between reality and the fiction that Julio is writing

Whimsical to the max, this is a story – or an attempt at a study – both of love and creativity. These two elements are intertwined within the characters, who always feel aloof, lost to each other and the audience. This is especially true of Julio who gradually loses touch with the real world, having been pulled back in time by the story he wrote, and into the world of carefully constructed, lonely bonsai trees. Unfortunately, by losing the characters – surely the backbone of any love story – the whole piece fails to tug any heart-strings.

BONSAI doesn’t fall fully into any clichés, and certainly credit can be given for trying to take a relatively different angle on what could have been a typical love story. However, despite the aesthetics and attempts made, the film also doesn’t go much further, nor dig any deeper.