Anime Boston 2025 - 25 Great Anime Movies You've Never Heard Of

Note: Due to time constraints, this will be published on Anime Herald's main site on July 22, 2025. We apologize for the inconvenience.

• Author: Samantha Ferreira

• Editor: Samantha Ferreira

Within the film world, there are few joys as precious as the cult classic. These under-the-radar favorites that escaped the gaze of the mainstream exude an inexplicable sense of mystery, as those connected to the scene discuss them in reverent tones. Whether it’s a long-forgotten feature by a beloved creator or a unique take on a format by a fresh face, these films often hold some element that makes them worth searching out, even decades later. At Anime Boston, anime historian Mike Toole decided to trot out twenty-five such films, which didn’t quite stay in the subcultural zeitgeist, but are nonetheless worth watching for one reason or another.

As Toole put it in his introduction, “We’re going to talk about a bunch of movies that are not four-star movies, but they're worth watching.” With just one hour to cover twenty-five films, though, he had just two minutes to devote to each one. He set the overall format for the presentation with the first feature, Hyoutan Suzume, a 1959 color film from Ryuichi Yokoyama’s studio, Otogi Production. The film focused on Danbe, a gang leader frog who’s a crack shot with a slingshot, and his son Zensuke as they travel to a new island inhabited by other frogs. 

Toole opened his presentation on the film with a brief clip, followed by a slide that contained details on the feature, along with either a poster or still image that defined it. For the rest of his allotted time for the film, he discussed elements like the plot and major staff, as well as bits of trivia surrounding the feature.

Toole followed this format for the rest of the panel, as he took the audience on a tour through seven decades of under-the-radar anime films, from 1967’s Jack and the Witch, to 2021’s Hula Fulla Dance. And while, as he cautioned at the top of the panel, the films weren’t all great, they were all fascinating experiments with the medium, which invited curious viewers to check out the full features.

For example, 1967’s Ninja Bugecho was an early “motion comic,” in which director Nagisa Ōshima focused the camera on actual panels from Sanpei Shirato’s original Dagger of Kamui manga, while including acted dialogue and sound effects.

When discussing The Door Into Summer, a 1981 film from Madhouse, which adapted Keiko Takemiya’s manga of the same name, Toole was quick to note the film’s striking visual style and Kentarō Haneda’s iconic score. He remarked on the picture’s unique distribution method, which was a roadshow that toured the country and screened in art galleries.

In the new millennium, Toole eagerly singled out Tamala 2010: A Punk Cat In Space, a 2002 avant-garde film by a two-person team. He mused about the film’s role as a critique of consumerism, while it offered itself to the world as a consumer product, through the film itself and merchandise such as T-shirts and items like can badges.

Of the films shown, Toole noted that only four were released in North America in the modern era. Of these, two were completely unavailable: 1991’s Roujin Z and 2013’s Magical Sisters Yoyo & Nene. When queueing up the clip for the latter, the “Aniplex” introduction played, to which Toole proclaimed, “And there’s the reason why we can’t get this movie now!” The film itself was cute, and likely would have found an audience in the modern day, as shows like Witch Watch and Little Witch Academia have used similar conceits. Unfortunately, it streamed exclusively on the ill-fated Daisuki platform, which shuttered on October 31, 2017, and Aniplex never streamed the picture elsewhere.

Of the few titles that are currently available in North America, though, none really could match the sheer oddball energy of Ryoma: The Prince of Tennis: a 2021 CGI film based on The Prince of Tennis. “This is not a good movie,” Toole remarked, adding “But I think it’s a great one!” And, indeed, it was certainly an experience like no other, with inexplicable rap battles and conversations that hinge on knowledge of a Japan-only series of stage shows based on the manga. 

What was particularly odd, though, is the fact that Ryoma is arguably the most readily available film that Toole had shown, with a Blu-ray release via Shout! Factory, streaming versions on major video-on-demand providers such as Amazon, and even a free official stream on YouTube. That it’s so easy to access is somewhat baffling, to be frank.

If Toole was hoping to inspire fans to explore the greater anime world, it’s hard to deny that he succeeded with flying colors. As the panel ended and he bade the audience farewell, it was impossible to ignore the lingering enthusiasm in the air. Chatter from attendees about films they wanted to check out after the con, or titles that made an impact on them, could be heard as the crowd shuffled back out into the Hynes. Meanwhile, a group of people hurried to the front to chat or offer support to Toole himself. And, honestly, it’s that beautiful bit of convention energy and newly realized passion that stands as the hallmark of a truly unforgettable event.