It is my experience that one gets a far richer, stranger cinema education in pursuing the careers of actors, that group defined first by (assuming luck shines upon them) two or three era-defining films and then so much that dictates their industry—pet projects, contractual obligations, called-in favors alimony payments, auteur one-offs, and on and on. Few embody that deluge of circumstance better than Michelle Yeoh and Isabelle Huppert, both of whom are receiving spotlights in March. The former’s is a who’s-who of Hong Kong talent, new favorites (The Heroic Trio), items we can at least say are of interest (Trio‘s not-great sequel Executioners), etc.
Huppert’s series runs longer, and notwithstanding certain standards that have long sat on the channel it adds some heavy hitters: Hong’s In Another Country, Cimino’s Heaven’s Gate, Breillat’s Abuse of Weakness, Hansen-Løve’s Things to Come. And, of course,...
Huppert’s series runs longer, and notwithstanding certain standards that have long sat on the channel it adds some heavy hitters: Hong’s In Another Country, Cimino’s Heaven’s Gate, Breillat’s Abuse of Weakness, Hansen-Løve’s Things to Come. And, of course,...
- 2/22/2023
- by Nick Newman
- The Film Stage
Brazilian animated feature “Perlimps,” Alê Abreu’s follow up to Oscar-nominated “Boy and the World,” has been sold in key territories by Best Friend Forever ahead of the European Film Market.
“Perlimps” has been picked up for Japan (Child Film and New Deer), China (DDDream), Cis and baltics (Kinologistica), Sweden (Njutafilm) and Portugal (Films4you). Bff is in advanced discussions to close German Speaking territories, Benelux, Spain, Italy and North America. As previously announced, UFO Distribution will release the feature in France.
“Perlimps” was just released last week in Brazil by leading independent outfit Vitrine Filmes and Sony Pictures, which holds Latin American rights.
The fantasy adventure film follows the journey of Claé and Bruô, a pair of secret agents from rival kingdoms who must join forces in spite of their differences to search for the Perlimps, mysterious creatures who can ultimately find a way to peace in times of war.
“Perlimps” has been picked up for Japan (Child Film and New Deer), China (DDDream), Cis and baltics (Kinologistica), Sweden (Njutafilm) and Portugal (Films4you). Bff is in advanced discussions to close German Speaking territories, Benelux, Spain, Italy and North America. As previously announced, UFO Distribution will release the feature in France.
“Perlimps” was just released last week in Brazil by leading independent outfit Vitrine Filmes and Sony Pictures, which holds Latin American rights.
The fantasy adventure film follows the journey of Claé and Bruô, a pair of secret agents from rival kingdoms who must join forces in spite of their differences to search for the Perlimps, mysterious creatures who can ultimately find a way to peace in times of war.
- 2/17/2023
- by Elsa Keslassy
- Variety Film + TV
“Mutt,” the Sundance prize-winning feature debut of New York-based filmmaker Vuk Lungulov-Klotz, has been boarded by Brussels-based company Best Friend Forever.
“Mutt,” which just won the Special Jury Award for actor Lío Mehiel (“WeCrashed”) at Sundance, will next play at the Berlin Film Festival in the Generation 14+ strand. CAA Media Finance is handling North American rights, while Best Friend Forever represents the rest of the world.
Lungulov-Klotz is a Chilean-Serbian filmmaker who previously participated in the Sundance Institute Labs, the Tribeca Film Institute, and the Ryan Murphy Half Initiative Program. His award winning trans-themed short film “Still Liam” played at several festivals and was championed by queer filmmakers Ira Sachs and Silas Howard, who have both become mentors.
Described as an emotional drama overlapping past, present and future, “Mutt” follows Feña, a young trans guy bustling through life in New York City. Over the course of a single hectic day,...
“Mutt,” which just won the Special Jury Award for actor Lío Mehiel (“WeCrashed”) at Sundance, will next play at the Berlin Film Festival in the Generation 14+ strand. CAA Media Finance is handling North American rights, while Best Friend Forever represents the rest of the world.
Lungulov-Klotz is a Chilean-Serbian filmmaker who previously participated in the Sundance Institute Labs, the Tribeca Film Institute, and the Ryan Murphy Half Initiative Program. His award winning trans-themed short film “Still Liam” played at several festivals and was championed by queer filmmakers Ira Sachs and Silas Howard, who have both become mentors.
Described as an emotional drama overlapping past, present and future, “Mutt” follows Feña, a young trans guy bustling through life in New York City. Over the course of a single hectic day,...
- 2/1/2023
- by Elsa Keslassy
- Variety Film + TV
The Animation Is Film Festival, in its fifth in-person edition, once again champions the jewels of the hand-drawn, CGI and stop-motion world.
This year’s festival kicks off Oct. 21 at the Tcl Chinese 6 Theatres in Hollywood with the U.S. premiere of Henry Selick’s stop-motion “Wendell & Wild.” Selick will also be there to conduct a Q&a after the screening. The festival will close with Guillermo del Toro’s “Pinocchio,” with a Q&a with del Toro after the screening.
“To repurpose a line from Tolstoy, every special festival is special in its own way. Most obviously, when a bona fide master of the craft comes out with his first film in over a decade — as is the case with Henry Selick’s ‘Wendell & Wild’ — that’s special. When an Oscar-winning ‘live-action’ director comes out with his first animated feature, a passion project many years in the...
This year’s festival kicks off Oct. 21 at the Tcl Chinese 6 Theatres in Hollywood with the U.S. premiere of Henry Selick’s stop-motion “Wendell & Wild.” Selick will also be there to conduct a Q&a after the screening. The festival will close with Guillermo del Toro’s “Pinocchio,” with a Q&a with del Toro after the screening.
“To repurpose a line from Tolstoy, every special festival is special in its own way. Most obviously, when a bona fide master of the craft comes out with his first film in over a decade — as is the case with Henry Selick’s ‘Wendell & Wild’ — that’s special. When an Oscar-winning ‘live-action’ director comes out with his first animated feature, a passion project many years in the...
- 10/20/2022
- by Carole Horst
- Variety Film + TV
Click here to read the full article.
My Father’s Dragon, the next movie from Wolfwalkers animation studio Cartoon Saloon, and Little Nicolas, which last spring won the top prize at Annecy, are among the films named to the competition lineup of the Animation Is Film Festival, which kicks off Oct. 21 in Hollywood.
Little Nicolas, helmed by Amandine Fredon and Benjamin Massoubre, is an animated adaptation of the children’s series by Rene Goscinny and Jean-Jacques Sempe. My Father’s Dragon, helmed by Oscar nominee Nora Twomey (The Breadwinner), is based on Ruth Stiles Gannett’s children’s book of the same name and will be released this fall on Netflix.
The competition lineup also includes Gold Kingdom and Water Kingdom, directed by Kotono Watanabe; Titina, directed by Kajsa Næss; Aurora’s Sunrise, directed by Inna Shaken; Oink, directed by Mascha Halberstad; Perlimps, directed by Alê Abreu; and Unicorn Wars,...
My Father’s Dragon, the next movie from Wolfwalkers animation studio Cartoon Saloon, and Little Nicolas, which last spring won the top prize at Annecy, are among the films named to the competition lineup of the Animation Is Film Festival, which kicks off Oct. 21 in Hollywood.
Little Nicolas, helmed by Amandine Fredon and Benjamin Massoubre, is an animated adaptation of the children’s series by Rene Goscinny and Jean-Jacques Sempe. My Father’s Dragon, helmed by Oscar nominee Nora Twomey (The Breadwinner), is based on Ruth Stiles Gannett’s children’s book of the same name and will be released this fall on Netflix.
The competition lineup also includes Gold Kingdom and Water Kingdom, directed by Kotono Watanabe; Titina, directed by Kajsa Næss; Aurora’s Sunrise, directed by Inna Shaken; Oink, directed by Mascha Halberstad; Perlimps, directed by Alê Abreu; and Unicorn Wars,...
- 9/22/2022
- by Carolyn Giardina
- The Hollywood Reporter - Movie News
A vast landscape of refuse and the community that survives by salvaging its waste is central to the plot in the debut feature from Nicaraguan writer-director Laura Baumeister.
“Daughter of Rage,” which world premiered at the Toronto Film Festival on Saturday, will also make its European premiere as part of the New Directors competition at the San Sebastian Film Festival later this month.
The narrative follows 11-year-old María (Ara Alejandra Medal) and her mother, Lilibeth (Virginia Sevilla), who pick through a littered shore to ensure their survival. Lilibeth, forced to travel to town to settle debts, leaves María to fend for herself at a sweatshop where children sort garbage for resale. With newfound pal Tadeo by her side, María grapples with an uncertain future, dreaming up fantastic scenarios to cope with the abandonment that looms over her head like an eerily dark sky before a storm.
The film is inevitably heart-wrenching but brave,...
“Daughter of Rage,” which world premiered at the Toronto Film Festival on Saturday, will also make its European premiere as part of the New Directors competition at the San Sebastian Film Festival later this month.
The narrative follows 11-year-old María (Ara Alejandra Medal) and her mother, Lilibeth (Virginia Sevilla), who pick through a littered shore to ensure their survival. Lilibeth, forced to travel to town to settle debts, leaves María to fend for herself at a sweatshop where children sort garbage for resale. With newfound pal Tadeo by her side, María grapples with an uncertain future, dreaming up fantastic scenarios to cope with the abandonment that looms over her head like an eerily dark sky before a storm.
The film is inevitably heart-wrenching but brave,...
- 9/12/2022
- by Holly Jones
- Variety Film + TV
Best Friend Forever has unveiled the trailer for “To The North,” Romanian Mihai Mincan’s feature debut which is world premiering in the Horizons section at Venice.
Inspired by true events, the edgy thriller follows Joel, a religious Filipino sailor who finds a Romanian stowaway, Dumitru, hidden between some containers during his shift on a transatlantic ship. Joel decides to hide him and subsequently starts feeling tormented by his crew, friends and even God.
“To The North” stars Soliman Cruz, Niko Becker, Bart Guingona and Olivier Ho Hio Hen (“Stillwater”). The topnotch crew includes cinematographer George Chiper-Lillemark (“Immaculate”), sound designer Nicolas Becker (“Sound Of Metal”) and sound mixer Cyril Holtz (“The Sister Brothers”).
“To The North” is produced by Radu Stancu at De Film Production, and co-produced by Remora Films, Studio Bauhaus, Screening Emotions and Background Films.
Best Friend Forever 2022 line-up also includes Oscar-nominated director Alê Abreu’s a”Perlimps...
Inspired by true events, the edgy thriller follows Joel, a religious Filipino sailor who finds a Romanian stowaway, Dumitru, hidden between some containers during his shift on a transatlantic ship. Joel decides to hide him and subsequently starts feeling tormented by his crew, friends and even God.
“To The North” stars Soliman Cruz, Niko Becker, Bart Guingona and Olivier Ho Hio Hen (“Stillwater”). The topnotch crew includes cinematographer George Chiper-Lillemark (“Immaculate”), sound designer Nicolas Becker (“Sound Of Metal”) and sound mixer Cyril Holtz (“The Sister Brothers”).
“To The North” is produced by Radu Stancu at De Film Production, and co-produced by Remora Films, Studio Bauhaus, Screening Emotions and Background Films.
Best Friend Forever 2022 line-up also includes Oscar-nominated director Alê Abreu’s a”Perlimps...
- 9/4/2022
- by Elsa Keslassy
- Variety Film + TV
Brussels-based company Best Friend Forever has acquired Laura Baumeister’s feature debut “Daughter of Rage” ahead of its world premiere at Toronto and San Sebastian film festivals.
Baumeister previously directed the shorts “Isabel im Winter” which played at Cannes Critics’ Week in 2014 and “Ombligo De Agua” which screened in Rotterdam and Clermont-Ferrand in 2018.
The Spanish-language film follows Maria, an 11-year-old girl who lives with her mother Lilibeth at the edge of a massive waste-disposal site in Nicaragua. Their future depends on selling a litter of purebred puppies to a local thug. After the deal falls through, Maria is dropped off by her mother at a recycling center in the city and realizes her mother won’t be coming back for her. Feeling lost, bewildered and angry, Maria meets Tadeo, an imaginative new friend who is determined to help her to reunite with her mother.
“We are thrilled to be working...
Baumeister previously directed the shorts “Isabel im Winter” which played at Cannes Critics’ Week in 2014 and “Ombligo De Agua” which screened in Rotterdam and Clermont-Ferrand in 2018.
The Spanish-language film follows Maria, an 11-year-old girl who lives with her mother Lilibeth at the edge of a massive waste-disposal site in Nicaragua. Their future depends on selling a litter of purebred puppies to a local thug. After the deal falls through, Maria is dropped off by her mother at a recycling center in the city and realizes her mother won’t be coming back for her. Feeling lost, bewildered and angry, Maria meets Tadeo, an imaginative new friend who is determined to help her to reunite with her mother.
“We are thrilled to be working...
- 8/22/2022
- by Elsa Keslassy
- Variety Film + TV
Brussels-based company Best Friend Forever has acquired international sales rights to Mihai Mincan’s drama thriller “To The North” which will world premiere at Venice in the Horizons section.
Inspired by true events, the film follows Joel, a religious Filipino sailor, who finds a Romanian stowaway, Dumitru, hidden between some containers during his shift on a transatlantic ship. Joel decides to hide him and subsequently starts feeling tormented by his crew, friends and even God.
“To The North” stars Soliman Cruz, Niko Becker, Bart Guingona and Olivier Ho Hio Hen (“Stillwater”). The topnotch crew includes cinematographer George Chiper-Lillemark (“Immaculate”), sound designer Nicolas Becker (“Sound Of Metal”) and sound mixer Cyril Holtz (“The Sister Brothers”).
“To The North” is produced by De Film Production (“Alis”), Remora Films, Studio Bauhaus, Screening Emotions and Background Films.
“We can’t be prouder to represent the film. It is surprisingly masterful for a debut, an immersive cinematographic experience,...
Inspired by true events, the film follows Joel, a religious Filipino sailor, who finds a Romanian stowaway, Dumitru, hidden between some containers during his shift on a transatlantic ship. Joel decides to hide him and subsequently starts feeling tormented by his crew, friends and even God.
“To The North” stars Soliman Cruz, Niko Becker, Bart Guingona and Olivier Ho Hio Hen (“Stillwater”). The topnotch crew includes cinematographer George Chiper-Lillemark (“Immaculate”), sound designer Nicolas Becker (“Sound Of Metal”) and sound mixer Cyril Holtz (“The Sister Brothers”).
“To The North” is produced by De Film Production (“Alis”), Remora Films, Studio Bauhaus, Screening Emotions and Background Films.
“We can’t be prouder to represent the film. It is surprisingly masterful for a debut, an immersive cinematographic experience,...
- 7/26/2022
- by Elsa Keslassy
- Variety Film + TV
Brussels-based sales company Best Friend Forever has acquired Andrea Bagney’s feature debut “Ramona,” a Spanish romantic comedy which will premiere at Karlovy Vary.
Produced by Sergio Uguet de Resayre at Tortilla Films, “Ramona” previously won awards in work-in-progress sessions at Rec Tarragona and Malaga festival in Spain. The movie is also set to open the Atlántida Mallorca Film Festival later this month.
Streaming service Filmin has picked up Spanish rights. A theatrical distribution partner will be announced by Best Friend Forever at a later stage.
“Ramona” follows a young woman who has just moved to Madrid with her boyfriend, hoping to get a fresh start. she wants to be an actress, a mother, and live in the city’s best neighborhood. The day before her first audition, she meets an older man, Bruno, with whom she feels an instant connection. Ramona runs off, scared of her own feelings but the next day,...
Produced by Sergio Uguet de Resayre at Tortilla Films, “Ramona” previously won awards in work-in-progress sessions at Rec Tarragona and Malaga festival in Spain. The movie is also set to open the Atlántida Mallorca Film Festival later this month.
Streaming service Filmin has picked up Spanish rights. A theatrical distribution partner will be announced by Best Friend Forever at a later stage.
“Ramona” follows a young woman who has just moved to Madrid with her boyfriend, hoping to get a fresh start. she wants to be an actress, a mother, and live in the city’s best neighborhood. The day before her first audition, she meets an older man, Bruno, with whom she feels an instant connection. Ramona runs off, scared of her own feelings but the next day,...
- 6/27/2022
- by Elsa Keslassy
- Variety Film + TV
“Perlimps,” Brazilian Alê Abreu’s follow-up to the Oscar-nominated “The Boy and the World,” has a trailer, released in the run up to the animated feature’s world premiere on June 16 at the Annecy Festival.
Shared in exclusivity with Variety by the film’s sales agent Best Friend Forever, the full trailer reveals for the first time the real significance of the titular Perlimps, while showcasing its dazzling visuals.
The film will screen at Annecy in official selection as a special event. If it were in competition, it would be a contender to deliver Brazil its third Annecy Cristal best feature award in decade after Abreu won in 2014 with “The Boy and the World” and “Perlimps” producer Luiz Bolgnesi also won he same award a year earlier for “Rio 2096: A Story and Love and Fury.”
The trailer to the animated family tale begins with Claé bounding through an Enchanted...
Shared in exclusivity with Variety by the film’s sales agent Best Friend Forever, the full trailer reveals for the first time the real significance of the titular Perlimps, while showcasing its dazzling visuals.
The film will screen at Annecy in official selection as a special event. If it were in competition, it would be a contender to deliver Brazil its third Annecy Cristal best feature award in decade after Abreu won in 2014 with “The Boy and the World” and “Perlimps” producer Luiz Bolgnesi also won he same award a year earlier for “Rio 2096: A Story and Love and Fury.”
The trailer to the animated family tale begins with Claé bounding through an Enchanted...
- 6/9/2022
- by John Hopewell
- Variety Film + TV
UFO Distribution has acquired French rights to the animated family tale “Perlimps” by Alê Abreu, the Oscar-nominated director of “The Boy and the World.”
Sold by Best Friend Forever, “Perlimps” is having its market premiere at the Marché du Film in Cannes and is set to world premiere at Annecy Animation Film Festival.
The film will be released by Sony Pictures in Latin America with a joint distribution in Brazil together with Vitrine Filmes.
the fantasy adventure film follows the journey of Claé and Bruô, a pair of secret agents from rival kingdoms who must join forces in spite of their differences to search for the Perlimps, mysterious creatures who can ultimately find a way to peace in times of war. The animation for the film was hand-drawn by Abreu and a reduced team who spent four years in a mountain village in Brazil. Abreu collaborated with senior Brazilian animator Sandro Cleuzo.
Sold by Best Friend Forever, “Perlimps” is having its market premiere at the Marché du Film in Cannes and is set to world premiere at Annecy Animation Film Festival.
The film will be released by Sony Pictures in Latin America with a joint distribution in Brazil together with Vitrine Filmes.
the fantasy adventure film follows the journey of Claé and Bruô, a pair of secret agents from rival kingdoms who must join forces in spite of their differences to search for the Perlimps, mysterious creatures who can ultimately find a way to peace in times of war. The animation for the film was hand-drawn by Abreu and a reduced team who spent four years in a mountain village in Brazil. Abreu collaborated with senior Brazilian animator Sandro Cleuzo.
- 5/20/2022
- by Elsa Keslassy
- Variety Film + TV
Acclaimed Brazilian writer-director Alê Abreu, director of the Oscar-nominated “The Boy and the World,” will world premiere his electric feature-length film “Perlimps” at the upcoming Annecy International Animation Film Festival after excerpts from the project were teased as part of the fest’s Works in Progress program last year.
“Perlimps” will screen at Annecy as a Special Event.
The film presents a mythical prism of hues splayed out to create a dense enchanted forest pictured in painterly tropical tones. Amidst the backdrop, two rivals, Claé and Bruó, reluctantly join forces in a bid to save their precious woodland and the Perlimps from giants surrounding the forest and regain peace.
The animated feature’s producers also shared in exclusivity with Variety a new still from the film, which introduces a third character, John Ovenbird, when he meets with Claé and Bruô
“The film is simply gorgeous. It’s both a story...
“Perlimps” will screen at Annecy as a Special Event.
The film presents a mythical prism of hues splayed out to create a dense enchanted forest pictured in painterly tropical tones. Amidst the backdrop, two rivals, Claé and Bruó, reluctantly join forces in a bid to save their precious woodland and the Perlimps from giants surrounding the forest and regain peace.
The animated feature’s producers also shared in exclusivity with Variety a new still from the film, which introduces a third character, John Ovenbird, when he meets with Claé and Bruô
“The film is simply gorgeous. It’s both a story...
- 5/6/2022
- by Holly Jones
- Variety Film + TV
Brussels-based company Best Friend Forever has acquired pair of French movies, “The Strange Case of Jacky Caillou” and “Madgala,” which will world premiere in the Cannes sidebar, Acid.
“The Strange Case of Jacky Caillou” is the feature debut of Lucas Delangle, who previously worked with Claire Simon on “The Competition,” among other films. Set in a small village in the French Alps, the film follows a young man, Jacky Caillou, who lives with his loving grandmother Gisele, a magnetic healer.
Produced by Charles Philippe and Lucile Ric at Les films du Clan, the film stars newcomer Thomas Parigi and rising French talent Lou Lampros. Arizona Distribution will release the film in France later this year.
“Lucas Delangle is a new French voice to be discovered; he is already very mature and plays with cinema narration and genre,” said Martin Gondre and Charles Bin, Best Friend Forever co-founders. “His first film...
“The Strange Case of Jacky Caillou” is the feature debut of Lucas Delangle, who previously worked with Claire Simon on “The Competition,” among other films. Set in a small village in the French Alps, the film follows a young man, Jacky Caillou, who lives with his loving grandmother Gisele, a magnetic healer.
Produced by Charles Philippe and Lucile Ric at Les films du Clan, the film stars newcomer Thomas Parigi and rising French talent Lou Lampros. Arizona Distribution will release the film in France later this year.
“Lucas Delangle is a new French voice to be discovered; he is already very mature and plays with cinema narration and genre,” said Martin Gondre and Charles Bin, Best Friend Forever co-founders. “His first film...
- 4/26/2022
- by Elsa Keslassy
- Variety Film + TV
Brussels-based company Best Friend Forever has boarded “Perlimps,” an animated feature directed by Alê Abreu, the Brazilian filmmaker behind the Oscar-nominated animated feature “The Boy and the World.”
Best Friend Forever will launch international sales on the project at Cartoon Movie in Bordeaux. Now in post, the fantasy adventure film follows the journey of Claé and Bruô, a pair of secret agents from rival kingdoms who must join forces in spite of their differences to search for the Perlimps, mysterious creatures who can ultimately find a way to peace in times of war. The animation for the film was hand-drawn by Abreu and a reduced team who spent four years in a mountain village in Brazil. Abreu collaborated with senior Brazilian animator Sandro Cleuzo.
The voice cast boasts Stênio Garcia, Giulia Benite (“Turma de Mônica: Laços”) and Lorenzo Tarantelli.
“With this film I was guided mainly by color, a very...
Best Friend Forever will launch international sales on the project at Cartoon Movie in Bordeaux. Now in post, the fantasy adventure film follows the journey of Claé and Bruô, a pair of secret agents from rival kingdoms who must join forces in spite of their differences to search for the Perlimps, mysterious creatures who can ultimately find a way to peace in times of war. The animation for the film was hand-drawn by Abreu and a reduced team who spent four years in a mountain village in Brazil. Abreu collaborated with senior Brazilian animator Sandro Cleuzo.
The voice cast boasts Stênio Garcia, Giulia Benite (“Turma de Mônica: Laços”) and Lorenzo Tarantelli.
“With this film I was guided mainly by color, a very...
- 3/9/2022
- by Elsa Keslassy
- Variety Film + TV
Alê Abreu’s ‘Perlimps’ and Milton Guerrero’s ‘Kai’ are among the five selected projects to be presented at the Animation! Works in Progress by Annecy showcase at Ventana Sur 2021, the biggest film and TV confab in Latin America.
The Animation! WIPs by Annecy sidebar is curated by the French festival and its MIFA market. Since 2020, the selection includes projects from Portugal and Spain.
This year Brazil and Peru are represented by two productions, while Portugal, Spain, France and Colombia produce or co-produce just one. Peru’s presence underscores the rise of the animation sector in the country. According to the Ibero-American Animation Quirino White Paper, Peru has seven animation training centers, three animation lobbies and a score of too production houses. A drill down on the selected titles:
“Kai”
Targeting children and family audiences, “Kai” follows a girl living in a world of magical creatures. When she learns she...
The Animation! WIPs by Annecy sidebar is curated by the French festival and its MIFA market. Since 2020, the selection includes projects from Portugal and Spain.
This year Brazil and Peru are represented by two productions, while Portugal, Spain, France and Colombia produce or co-produce just one. Peru’s presence underscores the rise of the animation sector in the country. According to the Ibero-American Animation Quirino White Paper, Peru has seven animation training centers, three animation lobbies and a score of too production houses. A drill down on the selected titles:
“Kai”
Targeting children and family audiences, “Kai” follows a girl living in a world of magical creatures. When she learns she...
- 11/1/2021
- by Emilio Mayorga
- Variety Film + TV
Brazilian director Alê Abreu and his team gave Annecy audiences a first look of his much anticipated new feature film “Perlimps” on Thursday, also sharing his fluid storyboarding process and the methods he uses to create his unique visual style.
The Oscar-nominated director of “Boy and the World” and his assistant director Viviane Guimaraes spoke via video link from Brazil while the film’s executive producer, Ernesto Soto Canny joined moderator Denis Walgenwitz and a live audience for the presentation in Annecy.
The film is set in the rainbow saturated Enchanted Forest and tells the story of two secret agents – a wolf boy and a bear girl – who work for enemy kingdoms and are dispatched to the forest on the same mission: to save the mysterious Perlimps from terrible giants that have surrounded the forest.
“In appearance and in strength they are the opposite of each other – one’s kingdom...
The Oscar-nominated director of “Boy and the World” and his assistant director Viviane Guimaraes spoke via video link from Brazil while the film’s executive producer, Ernesto Soto Canny joined moderator Denis Walgenwitz and a live audience for the presentation in Annecy.
The film is set in the rainbow saturated Enchanted Forest and tells the story of two secret agents – a wolf boy and a bear girl – who work for enemy kingdoms and are dispatched to the forest on the same mission: to save the mysterious Perlimps from terrible giants that have surrounded the forest.
“In appearance and in strength they are the opposite of each other – one’s kingdom...
- 6/18/2021
- by Ann-Marie Corvin
- Variety Film + TV
Sony Pictures has boarded Alê Abreu’s buzzed up animated feature “Perlimps,” the acclaimed Brazilian director’s follow up to “Boy and the World” which was nominated for best animated feature at the 2016 Academy Awards.
A best animated feature-winner in the independent category at the 43rd Annie Awards, “Boy and the World” also took the top Cristal at the 2014 Annecy Festival.
Several excerpts for the film will be screened on June 17 in this year’s Annecy Work in Progress section.
Written and directed by Abreu, “Perlimps” is produced by Buriti Filmes, the Sao Paulo-based production house of film directors Lais Bodansky (“Just Like Our Parents”) and Luiz Bolognesi (“The Last Forest”) himself an Annecy best feature Cristal winner in 2013 for “Rio 2096: A Story of Love and Fury.”
Abreu’s 80-minute long second feature, is co-produced by Sony Pictures, Globo Filmes, the powerful film production arm of Brazilian TV giant Globo and Gloob,...
A best animated feature-winner in the independent category at the 43rd Annie Awards, “Boy and the World” also took the top Cristal at the 2014 Annecy Festival.
Several excerpts for the film will be screened on June 17 in this year’s Annecy Work in Progress section.
Written and directed by Abreu, “Perlimps” is produced by Buriti Filmes, the Sao Paulo-based production house of film directors Lais Bodansky (“Just Like Our Parents”) and Luiz Bolognesi (“The Last Forest”) himself an Annecy best feature Cristal winner in 2013 for “Rio 2096: A Story of Love and Fury.”
Abreu’s 80-minute long second feature, is co-produced by Sony Pictures, Globo Filmes, the powerful film production arm of Brazilian TV giant Globo and Gloob,...
- 6/9/2021
- by John Hopewell
- Variety Film + TV
Time to meet Claé and Bruô. An early promo teaser trailer has debuted as a first look at the new animated film from the acclaimed Brazilian filmmaker Alê Abreu. You may recognize his name as he's the filmmaker behind the Oscar-nominated, outstanding, beloved animated film The Boy and the World (which was in my Top 10 of 2015). His new film is called Perlimps, another vibrant tale, this time about two "secret agents working for enemy kingdoms" named Claé and Bruô. "Lost in the Enchanted Forest, amid forgotten ruins, pyramids, gas mountains and floating-rock deserts, they discover they have the same mission: to save the Perlimps from the terrible Giants that have surrounded the forest." Sounds a bit like a Ghibli film. The first look was revealed by Cartoon Brew, where they have some additional photos and quotes from Abreu ahead of its Annecy Film Festival unveiling. This teaser doesn't have any...
- 6/8/2021
- by Alex Billington
- firstshowing.net
France’s Annecy International Animation Film Festival, the leading global get-together for all things animation, has unveiled the lineup for this year’s Work in Progress section, among the most highly anticipated events of the world’s animation calendar. When a physical event is possible, lines begin to form early in the morning as fans of the high-profile projects hope to get into the limited seating available at the Salle Pierre Lamy.
A barometer for future standout awards and/or box office success, recent high-profile projects featured at Annecy’s Work in Progress include Sony Pictures Entertainment’s Oscar-winner “Spiderman: Into the Spider-Verse” and Oscar nominees in Netflix’s “Klaus” and “Over the Moon,” Cartoon Saloon’s “Wolfwalkers,” Claude Barras’ “My Life as a Zucchini,” Stéphane Aubier and Vincent Patar’s “Ernest & Celestine,” Michael Dudok de Wit’s “The Red Turtle” and Dean DeBlois’ “How to Train Your Dragon 2.
A barometer for future standout awards and/or box office success, recent high-profile projects featured at Annecy’s Work in Progress include Sony Pictures Entertainment’s Oscar-winner “Spiderman: Into the Spider-Verse” and Oscar nominees in Netflix’s “Klaus” and “Over the Moon,” Cartoon Saloon’s “Wolfwalkers,” Claude Barras’ “My Life as a Zucchini,” Stéphane Aubier and Vincent Patar’s “Ernest & Celestine,” Michael Dudok de Wit’s “The Red Turtle” and Dean DeBlois’ “How to Train Your Dragon 2.
- 5/3/2021
- by Jamie Lang
- Variety Film + TV
A region bustling with the winds of change throughout the 2010s — both progressive and retrograde — Latin America enjoyed a banner decade that witnessed the rise of films grappling with economic inequality, indigenous discrimination, and Lgbtq+ issues.
Mexico’s production continued to skyrocket (from Amat Escalante to Eugenio Derbez), Chile emerged as a powerhouse in both the arthouse and mainstream markets (with the Larraín brothers’ Fabula production company and the unofficial movement known as Chilewood), and countries like Panama (“Invasion”), the Dominican Republic (“Woodpeckers”), and Paraguay (“The Heiresses”) made strides towards a more consistent output of noteworthy offers. Although far from a definitive list, these 11 features give the world the opportunity to take a peek at the varied perspectives of Latin American creators, veterans and up-and-comers:
“Aquarius” (2016)
Vigorous and sensual, Sonia Braga commands director Kleber Mendonça Filho’s vital character study in her career-best work playing Doña Clara. The timeless Brazilian...
Mexico’s production continued to skyrocket (from Amat Escalante to Eugenio Derbez), Chile emerged as a powerhouse in both the arthouse and mainstream markets (with the Larraín brothers’ Fabula production company and the unofficial movement known as Chilewood), and countries like Panama (“Invasion”), the Dominican Republic (“Woodpeckers”), and Paraguay (“The Heiresses”) made strides towards a more consistent output of noteworthy offers. Although far from a definitive list, these 11 features give the world the opportunity to take a peek at the varied perspectives of Latin American creators, veterans and up-and-comers:
“Aquarius” (2016)
Vigorous and sensual, Sonia Braga commands director Kleber Mendonça Filho’s vital character study in her career-best work playing Doña Clara. The timeless Brazilian...
- 12/28/2019
- by Carlos Aguilar
- The Wrap
Every week, IndieWire asks a select handful of film critics two questions and publishes the results on Monday.
Last Friday saw the release of Laika’s “Missing Link,” a singular and exquisitely crafted piece of stop-motion animation at a time when generic, computer-generated fare is dominating the market (IndieWire’s positive review can be read here). Naturally, it bombed.
This week’s question: In an attempt to call attention to the films that treat feature-length animation like the art form that it is, what’s the most beautifully animated film ever made?
“5 Centimeters Per Second”
Hoai-Tran (@htranbui), SlashFilm
Makoto Shinkai may be best known as the director behind the 2017 global mega-hit “Your Name,” but he has long established himself as a singular anime filmmaker whose pensive metaphysical plots are only bested by his gorgeous photorealistic renderings of modern-day Tokyo. While his 2013 short film “The Garden of Words” is objectively...
Last Friday saw the release of Laika’s “Missing Link,” a singular and exquisitely crafted piece of stop-motion animation at a time when generic, computer-generated fare is dominating the market (IndieWire’s positive review can be read here). Naturally, it bombed.
This week’s question: In an attempt to call attention to the films that treat feature-length animation like the art form that it is, what’s the most beautifully animated film ever made?
“5 Centimeters Per Second”
Hoai-Tran (@htranbui), SlashFilm
Makoto Shinkai may be best known as the director behind the 2017 global mega-hit “Your Name,” but he has long established himself as a singular anime filmmaker whose pensive metaphysical plots are only bested by his gorgeous photorealistic renderings of modern-day Tokyo. While his 2013 short film “The Garden of Words” is objectively...
- 4/15/2019
- by David Ehrlich
- Indiewire
Tenerife, Spain – Santiago Caicedo’s debut “Virus Tropical” took best feature prize at Quirino Awards in a ceremony held at Tenerife’s auditorium on Saturday April 6.
Best TV series award went to Juliano Enrico’s “Jorel’s Brother – Be Broccoli!” and best short kudo to Nara Normande’s “Guaxuma.” Two out of three main prizes went to Brazil’s productions.
Based on the graphic novel of Colombia-Ecuador’s Power Paola, “Virus Tropical” is produced by Colombia’s Timbo Studio and France’s Ikki Films. Sold to Amazon by Paris’ Stray Dogs, it’s a black and white coming-of-age story beginning the very night Paola is conceived. This will set the tone for a family drama with a strong element of sexuality exploring its main character, a woman born to a priest and a psychic, who will battle for independence and to find her place in the world.
The Quirino Award...
Best TV series award went to Juliano Enrico’s “Jorel’s Brother – Be Broccoli!” and best short kudo to Nara Normande’s “Guaxuma.” Two out of three main prizes went to Brazil’s productions.
Based on the graphic novel of Colombia-Ecuador’s Power Paola, “Virus Tropical” is produced by Colombia’s Timbo Studio and France’s Ikki Films. Sold to Amazon by Paris’ Stray Dogs, it’s a black and white coming-of-age story beginning the very night Paola is conceived. This will set the tone for a family drama with a strong element of sexuality exploring its main character, a woman born to a priest and a psychic, who will battle for independence and to find her place in the world.
The Quirino Award...
- 4/7/2019
- by Emilio Mayorga
- Variety Film + TV
The far-right has now aggressively infiltrated the politics of countless nations, developed and otherwise, advocating malicious rhetoric that targets vulnerable groups, preaches ethnocentrism, and weaponizes religion. Outside of what happened in the United States in 2016, last year’s presidential election in Brazil, which crowned a candidate holding such extreme views, is a testament to the harmful powers of alarmist populism.
Although produced prior to the recent rise of these traditionalist forces in the country, Brazilian animated feature “Tito and the Birds” is a shrewd response to bigotry, packaged as a spooky adventure achieved through the integration of artisanal and digital techniques. The outcome is a stylistically singular treasure with tonal and aesthetic hints of Laika’s horror-inspired “ParaNorman” and the animated Van Gogh biopic “Loving Vincent.”
São Paulo native Gustavo Steinberg, the creative commander propelling the entire operation, co-directed the film with animators Gabriel Bitar and André Catoto. Steinberg made...
Although produced prior to the recent rise of these traditionalist forces in the country, Brazilian animated feature “Tito and the Birds” is a shrewd response to bigotry, packaged as a spooky adventure achieved through the integration of artisanal and digital techniques. The outcome is a stylistically singular treasure with tonal and aesthetic hints of Laika’s horror-inspired “ParaNorman” and the animated Van Gogh biopic “Loving Vincent.”
São Paulo native Gustavo Steinberg, the creative commander propelling the entire operation, co-directed the film with animators Gabriel Bitar and André Catoto. Steinberg made...
- 1/25/2019
- by Carlos Aguilar
- The Wrap
Madrid — TV shows “Yorudan District,” and “The Pleasefixers” and animated feature “The Ballad of the Phoenix” are potential standouts at Ventana Sur’s 3rd Animation! showcase, which looks set to underscore the burgeoning strength of Latin American animation, and its drive to put into place stronger infrastructures to bulwark a more organized and sustainable growth.
Also sparking good word, among feature projects, are “El Paraíso” and Brazil’s “Cachalote,” and works-in-progress titles “Ainbo, Spirit of the Amazon” and “A Costume for Nicolas.”
The 15 projects were chosen from 180 applications, an Animation! record. 11 of the 15 projects are market debuts. That’s just one sign of Latin America’s robust growth in animation over recent years. According to industry org statistics aired at April’s first Quirino Ibero-American Animation Awards in Tenerife, Mexico has 16 animated features in production or pre-production, Brazil 25 titles in production, and Argentina more than 20 projects in development, Animation! co-ordinator Silvina Cornillón pointed out.
Also sparking good word, among feature projects, are “El Paraíso” and Brazil’s “Cachalote,” and works-in-progress titles “Ainbo, Spirit of the Amazon” and “A Costume for Nicolas.”
The 15 projects were chosen from 180 applications, an Animation! record. 11 of the 15 projects are market debuts. That’s just one sign of Latin America’s robust growth in animation over recent years. According to industry org statistics aired at April’s first Quirino Ibero-American Animation Awards in Tenerife, Mexico has 16 animated features in production or pre-production, Brazil 25 titles in production, and Argentina more than 20 projects in development, Animation! co-ordinator Silvina Cornillón pointed out.
- 11/27/2018
- by John Hopewell
- Variety Film + TV
Denis Do’s Funan wins best feature.
Nora Twomey’s The Breadwinner received three prizes at the Annecy International Animation Festival (which ran June 11-16).
Scroll down for full list of winners
The film picked up the jury award and the audience award in the competition section, as well as the best original music for a feature film prize from the special awards. It is based on Deborah Ellis’ novel and follows a young Afghan girl living in a Kabul, a city under siege.
Best feature film went to Denis Do’s Funan, about a Cambodian family torn apart by...
Nora Twomey’s The Breadwinner received three prizes at the Annecy International Animation Festival (which ran June 11-16).
Scroll down for full list of winners
The film picked up the jury award and the audience award in the competition section, as well as the best original music for a feature film prize from the special awards. It is based on Deborah Ellis’ novel and follows a young Afghan girl living in a Kabul, a city under siege.
Best feature film went to Denis Do’s Funan, about a Cambodian family torn apart by...
- 6/18/2018
- by Ben Dalton
- ScreenDaily
Annecy, France — Luiz Bolognesi’s next animation feature, “O estrangeira” (‘The Foreigner’), will be presented on June 14 at Annecy’s Animation du Monde pitching sessions, launched in 2015 to reflect the build in world cinema animation.
Bolognesi‘s debut, “Rio 2096, a Story of Love and Fury,” took the Annecy Festival’s best picture Cristal in 2013.
Animated in classic 2D techniques and budgeted at $1.9 million, the animation feature will be produced by Alê Abreu’s Filme de Papel and Laís Bodanzky’s Buriti Filmes. The production company of Abreu, Academy Award-nominated and an Annecy Cristal Award winner for “Boy and the World,” has sealed a production agreement with Buriti, founded by Bodanzky (“Just Our Like Parents”) and Bolognesi, which sees the three producer-directors alternatively producing features directed by another of the partners.
“O estrangeira” links to Bolognesi’s “Ex-Shamam,” which received a Berlinale special mention for documentary this year and follows an...
Bolognesi‘s debut, “Rio 2096, a Story of Love and Fury,” took the Annecy Festival’s best picture Cristal in 2013.
Animated in classic 2D techniques and budgeted at $1.9 million, the animation feature will be produced by Alê Abreu’s Filme de Papel and Laís Bodanzky’s Buriti Filmes. The production company of Abreu, Academy Award-nominated and an Annecy Cristal Award winner for “Boy and the World,” has sealed a production agreement with Buriti, founded by Bodanzky (“Just Our Like Parents”) and Bolognesi, which sees the three producer-directors alternatively producing features directed by another of the partners.
“O estrangeira” links to Bolognesi’s “Ex-Shamam,” which received a Berlinale special mention for documentary this year and follows an...
- 6/13/2018
- by Emilio Mayorga
- Variety Film + TV
Every week we dive into the cream of the crop when it comes to home releases, including Blu-ray and DVDs, as well as recommended deals of the week. Check out our rundown below and return every Tuesday for the best (or most interesting) films one can take home. Note that if you’re looking to support the site, every purchase you make through the links below helps us and is greatly appreciated.
Boy & the World (Alê Abreu)
Crayon-like scribblings and simple geometric patterns meticulously complicate themselves like a fractal over the course of this child’s-eye odyssey through the global struggle between humankind and the forces that oppress it. Kaleidoscopic visuals use repetition to explore the communal nature of both work and celebration. This film continually pulls back to show the larger picture of society, its visuals becoming more complex in kind, before it reduces to a more intimate view...
Boy & the World (Alê Abreu)
Crayon-like scribblings and simple geometric patterns meticulously complicate themselves like a fractal over the course of this child’s-eye odyssey through the global struggle between humankind and the forces that oppress it. Kaleidoscopic visuals use repetition to explore the communal nature of both work and celebration. This film continually pulls back to show the larger picture of society, its visuals becoming more complex in kind, before it reduces to a more intimate view...
- 7/5/2016
- by The Film Stage
- The Film Stage
On July 5, one of the best animated films of the past few years is coming out on Blu-ray and DVD. Alê Abreu’s Boy and the World, which was released by Gkids in the States just before Christmas last year and nominated for a 2015 Academy Award for Best Animated Feature, is a mesmerizing, near-wordless adventure in which a stick-figure child ventures from the country to the city in search of his father. Using a combination of crayon drawing and magazine collage, Abreu creates a universe based around patterns of circles and straight lines. The boy himself isn’t much more than a circle hovering above a t-shirt created from five red dashes, but the graphic simplicity of the film’s protagonist belies Abreu and his team’s astonishing draftsmanship. The ever-morphing world around the boy veers from abstraction to realism: from scenes of tiny figures dwarfed by white space (my...
- 7/4/2016
- MUBI
Children’s and Family films often get short shrift from the professional film community. They are shunted to a special section. But at some festivals, they get their due. Panama International Film Festival is one of Latin America’s best stages to show these films.
Read More: Panama: The Next Big Country for Latin American Films?
Andrés Waissbluth’s "Elephant, the Horse" is inspired by the lives of Lalo and Roberto Parra. 80’, Chile/Mexico/Colombia, 2016. World Premiere.
Lalo wants nothing more than to grow up to be a valiant adventurer, just like his grandfather was. Grandpa who is on his deathbed—for the third time— charges Lalo and his brother Roberto with a task of great importance: the boys must promise to look after Grandpa’s beloved horse Elephant, that has been abducted by a traveling circus. Lalo and Roberto set out to rescue Elephant, but wind up involved in an even bigger quest than either could have imagined. Blending live-action with an alluring animation style that resembles a comic book come to life, “Elephant, the Horse” is fun, suspenseful, and light-hearted even when dealing with more serious plot developments. Chilean-American director Andrés Waissbluth’s delightful third feature fuses fantasy with stories taken from the childhoods of Lalo and Roberto Parra, the brothers of Chile’s legendary singer Violeta Parra.
Read More: How 'Boy and the World' Ale Abreu Handcrafted His Heartfelt Dazzling Animated Masterpiece
“Caroline and the Magic Potion” is Virginia Curiá’s feature debut. Brazil/Spain, 78’, 2015. Isa: Latido. USA: Viva.
Everyone in the neighborhood turns to Caroline’s grandmother for sure-fire home remedies. But for Caroline, being a healer’s apprentice, learning about what cream to apply to what allergy, can get dull. Caroline is a restless girl. She would rather fly through the air than fiddle with herbs—and she gets her chance to do just that when she discovers a magic potion amongst her granny’s cache of cures. As it happens, Caroline starts to master her new power just in time: a nefarious cosmetic company has kidnapped Granny with the hope of stealing her recipes. With her umbrella-turned-flying broomstick and mischievous pet cat in tow, Caroline is determined to come to the rescue. Fun, witty and bursting with surprises, “Caroline and the Magic Potion” is an animated adventure set in a rapidly changing world, where witchy powers and high-tech gizmos come into conflict, but in the end it’s a combination of smarts, courage and love that provide our heroine with her best chance at defeating her foes. “Caroline and the Magic Potion” is Galician Virginia Curiá’s feature debut.
Read More: Why Ale Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
“Boy & the World” by Alê Abreu was an Oscar-Nominee this year for Best Animated Feature Film Brazil, 80’, 2013. Isa: Elo. USA: GKIds
Nominated for Best Animated Feature Film at the 88th Academy Awards, Alê Abreu’s “Boy & the World” will be screened at Iff Panama’s Family Corner. This dialogue-free, picaresque film about a country boy searching for his father fuses endearingly primitive, crayon-like visual elements with highly sophisticated imagery. Equal parts dread and wonder, Alê Abreu’s powerful feature warns against the corruption and contamination that threaten our world while retaining a stubborn belief in some fundamental goodness that can keep our hope alive.
Read More: Panama: The Next Big Country for Latin American Films?
Andrés Waissbluth’s "Elephant, the Horse" is inspired by the lives of Lalo and Roberto Parra. 80’, Chile/Mexico/Colombia, 2016. World Premiere.
Lalo wants nothing more than to grow up to be a valiant adventurer, just like his grandfather was. Grandpa who is on his deathbed—for the third time— charges Lalo and his brother Roberto with a task of great importance: the boys must promise to look after Grandpa’s beloved horse Elephant, that has been abducted by a traveling circus. Lalo and Roberto set out to rescue Elephant, but wind up involved in an even bigger quest than either could have imagined. Blending live-action with an alluring animation style that resembles a comic book come to life, “Elephant, the Horse” is fun, suspenseful, and light-hearted even when dealing with more serious plot developments. Chilean-American director Andrés Waissbluth’s delightful third feature fuses fantasy with stories taken from the childhoods of Lalo and Roberto Parra, the brothers of Chile’s legendary singer Violeta Parra.
Read More: How 'Boy and the World' Ale Abreu Handcrafted His Heartfelt Dazzling Animated Masterpiece
“Caroline and the Magic Potion” is Virginia Curiá’s feature debut. Brazil/Spain, 78’, 2015. Isa: Latido. USA: Viva.
Everyone in the neighborhood turns to Caroline’s grandmother for sure-fire home remedies. But for Caroline, being a healer’s apprentice, learning about what cream to apply to what allergy, can get dull. Caroline is a restless girl. She would rather fly through the air than fiddle with herbs—and she gets her chance to do just that when she discovers a magic potion amongst her granny’s cache of cures. As it happens, Caroline starts to master her new power just in time: a nefarious cosmetic company has kidnapped Granny with the hope of stealing her recipes. With her umbrella-turned-flying broomstick and mischievous pet cat in tow, Caroline is determined to come to the rescue. Fun, witty and bursting with surprises, “Caroline and the Magic Potion” is an animated adventure set in a rapidly changing world, where witchy powers and high-tech gizmos come into conflict, but in the end it’s a combination of smarts, courage and love that provide our heroine with her best chance at defeating her foes. “Caroline and the Magic Potion” is Galician Virginia Curiá’s feature debut.
Read More: Why Ale Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
“Boy & the World” by Alê Abreu was an Oscar-Nominee this year for Best Animated Feature Film Brazil, 80’, 2013. Isa: Elo. USA: GKIds
Nominated for Best Animated Feature Film at the 88th Academy Awards, Alê Abreu’s “Boy & the World” will be screened at Iff Panama’s Family Corner. This dialogue-free, picaresque film about a country boy searching for his father fuses endearingly primitive, crayon-like visual elements with highly sophisticated imagery. Equal parts dread and wonder, Alê Abreu’s powerful feature warns against the corruption and contamination that threaten our world while retaining a stubborn belief in some fundamental goodness that can keep our hope alive.
- 4/1/2016
- by Sydney Levine
- Sydney's Buzz
Lorenzo Vigas’ Venice Golden Lion winner From Afar and César Augusto Acevedo’s Cannes Critics Week France 4 Visionary Award winner Land And Shade will screen at the International Film Festival of Panama.
Both selections will play in the Ibero American Showcase under the auspices of Iff Panama 2016, which runs from April 7-13.
Italian actress Lucía Bosé will be guest of honour at the festival’s fifth edition when three of films will screen — Death Of A Cyclist, Story Of A Love Affair, and No Peace Under The Olive Tree. High Heels will screen in special presentation.
Ibero American Showcase entries include Anna Muylaert’s Brazilian foreign language Oscar submission My Second Mother, Álex de la Iglesia’s My Big Night (Spain), 3 Beauties (Venezuela) by Carlos Caridad-Montero, and Spy Time (Spain) by Javier Ruiz Caldera.
Rounding out the section are: The Apostate (Spain-France-Uruguay) by Federico Veiroj; Road To La Paz (Argentina) by Francisco Varone; Semana Santa (Mexico) by [link...
Both selections will play in the Ibero American Showcase under the auspices of Iff Panama 2016, which runs from April 7-13.
Italian actress Lucía Bosé will be guest of honour at the festival’s fifth edition when three of films will screen — Death Of A Cyclist, Story Of A Love Affair, and No Peace Under The Olive Tree. High Heels will screen in special presentation.
Ibero American Showcase entries include Anna Muylaert’s Brazilian foreign language Oscar submission My Second Mother, Álex de la Iglesia’s My Big Night (Spain), 3 Beauties (Venezuela) by Carlos Caridad-Montero, and Spy Time (Spain) by Javier Ruiz Caldera.
Rounding out the section are: The Apostate (Spain-France-Uruguay) by Federico Veiroj; Road To La Paz (Argentina) by Francisco Varone; Semana Santa (Mexico) by [link...
- 3/23/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
One of movie fans favorite events of Oscar Week was held Thursday evening at the Samuel Goldwyn Theatre, as the Academy held the eighth annual event celebrating the nominees for Best Animated Feature Film.
The evening featured clips from each film, followed by an onstage discussion with each group of nominated filmmakers.
This year’s eclectic mix – Anomalisa, Boy and the World, Inside Out, Shaun the Sheep Movie and When Marnie Was There – are as international as they are distinct.
Employing a stunning variety of animation techniques, the nominees explored a wide range of topics, including existential despair, devastation of natural resources, learning to handle emotion, the value of friendship and surviving the difficulties of adolescence.
This year, members were able to stream the movies and voting came from all over the world.
The evening’s hosts were Don Hall, Chris Williams, Roy Conli, last year’s Oscar winning team from Big Hero 6.
The evening featured clips from each film, followed by an onstage discussion with each group of nominated filmmakers.
This year’s eclectic mix – Anomalisa, Boy and the World, Inside Out, Shaun the Sheep Movie and When Marnie Was There – are as international as they are distinct.
Employing a stunning variety of animation techniques, the nominees explored a wide range of topics, including existential despair, devastation of natural resources, learning to handle emotion, the value of friendship and surviving the difficulties of adolescence.
This year, members were able to stream the movies and voting came from all over the world.
The evening’s hosts were Don Hall, Chris Williams, Roy Conli, last year’s Oscar winning team from Big Hero 6.
- 2/26/2016
- by Michelle McCue
- WeAreMovieGeeks.com
Chicago – If the 2016 Oscar nominations are examined a bit more closely, some real gems can be found. In the Best Animated Feature Category, beyond the familiar nomination of “Inside Out,” there is an offering from Brazil entitled “Boy & the World.”
The Gene Siskel Film Center in Chicago is screening “Boy & the World” through February 11th, 2016.
Rating: 4.0/5.0
“Boy & the World” is a combination of simple line figure drawing through a colorful kaleidoscope of landscape and fantastical story settings. There is a boy going through this arena, in search of a father who has left the Eden he once shared with his son and mother. The writer and director Alê Abreu bites off a lot of themes – technology, urban identity, environmental issues and loss – and creates a hyperbolic world for that boy to explore. This is a big screen treat, with many animated indulgences, which becomes more of a sensation than even the story.
The Gene Siskel Film Center in Chicago is screening “Boy & the World” through February 11th, 2016.
Rating: 4.0/5.0
“Boy & the World” is a combination of simple line figure drawing through a colorful kaleidoscope of landscape and fantastical story settings. There is a boy going through this arena, in search of a father who has left the Eden he once shared with his son and mother. The writer and director Alê Abreu bites off a lot of themes – technology, urban identity, environmental issues and loss – and creates a hyperbolic world for that boy to explore. This is a big screen treat, with many animated indulgences, which becomes more of a sensation than even the story.
- 2/9/2016
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
The 43rd Annie Awards Saturday night at UCLA's Royce Hall was a love fest for Pixar's "Inside Out," which grabbed 10 awards, including Best Animated Feature, and is primed for the Oscar. "The Good Dinosaur," which dominated Ves animation on Tuesday, took the Animated Effects prize for a Pixar sweep. In addition, GKids' "Boy and the World," the first Brazilian Oscar nominee (from director Alê Abreu and Filme de Papel), won the inauguaral indie prize, and Don Hertzfeldt's "World of Tomorrow," the Oscar frontrunner, took Best Animated Short. For live-action, "The Revenant" bear claimed another character animation honor for Ilm, and Marvel's "Avengers: Age of Ultron" (Sokovia Destruction) took the Animated Effects award. Both "Boy and the World" and "World of Tomorrow" are brilliant hand-drawn works: "Boy" unfolds like a sumptuous tapestry for a small stick figure of a boy, who experiences an...
- 2/7/2016
- by Bill Desowitz
- Thompson on Hollywood
Paints an impressionistic canvas of unease and disquiet, of hope and wonder, filled with glorious music. Magical… though sometimes it’s black magic. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
The second feature from Brazilian filmmaker Alê Abreu is perhaps the most unlikely nominee for this year’s Best Animated Feature Oscar. Not that Boy & the World isn’t absolutely exquisite; it’s just that it got only a tiny release and so has bypassed even most animation fans, and it’s not from one of the major players in modern cartoons. Boy couldn’t be any further from the typical Pixar, Disney, Studio Ghibli, or Aardman movie: this is very nearly a one-man project from Abreu, who not only wrote and directed the film but also edited it and created the utterly unique hand-drawn animation himself.
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
The second feature from Brazilian filmmaker Alê Abreu is perhaps the most unlikely nominee for this year’s Best Animated Feature Oscar. Not that Boy & the World isn’t absolutely exquisite; it’s just that it got only a tiny release and so has bypassed even most animation fans, and it’s not from one of the major players in modern cartoons. Boy couldn’t be any further from the typical Pixar, Disney, Studio Ghibli, or Aardman movie: this is very nearly a one-man project from Abreu, who not only wrote and directed the film but also edited it and created the utterly unique hand-drawn animation himself.
- 1/28/2016
- by MaryAnn Johanson
- www.flickfilosopher.com
Say what you will about AMPAS, the Academy Award nomination process, or the lack of minority representation in the acting categories, but when it comes to the branch that selects the Best Animated Feature and Best Animated Short Film nominees, one has to agree they are by far the group that is most willing to look outside what studios are producing and truly champion the quality of the craft ignoring lavish campaigns for true artistry.
Read More: 6 International and Independent 2D-Animated Features in the Oscar Race
This year, while most experts and pundits had their predictions fixated on films such as “The Peanuts Movie, “a well-liked homage to Schultz’ characters, or Pixar’s less prodigious candidate “The Good Dinosaur,” members of the animation committee seemed to ignore the speculation and in a highly unexpected move bestowed the coveted recognition on two five films that reflect the eclectic and broad spectrum of the medium. Curiously enough, the popular choice, “Inside Out,” is in the outlier here, because it’s the only CG film nominated in the category. The other four finalists are handcrafted projects created outside the box-office smashing and toy-selling strategies of large corporations.
One is a stop-motion romance aimed at mature audiences; there is also a critically acclaimed Aardman Studios production inspired by one of its most beloved characters, and two are hand-drawn international features prompted to this level of exposure solely by their undeniable craftsmanship and compelling visual storytelling. These last two candidates couldn’t be more different in stylistic approach and cultural intricacies; however, the fact that they both belong to New York-based independent distributor Gkids’ catalog, places them within an elite collection of animated gems known for their unconventional excellence.
Read More: Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
On January 14th as the as the nominees in the Best Animated Feature category at the 88th Academy Award were revealed, the most shocking appearance, at least for those not familiar with the title, was that of a completely independent and visionary work from Brazil. Alê Abreu‘s mesmerizing musical extravaganza “Boy and the World” has been profoundly adored by those who have given a chance from the very beginning, but that doesn’t always translate into the mass appreciation - much less into Oscar love. Its nomination represents a triumph for uncompromising artists and in particular for Latin American animation. “Boy and the World” is the region’s first nominee and undoubtedly the most achieved animated project ever produced there.
Abreu’s film is utterly unforgettable and can’t fully be compared to anything previously done in the medium. Such colorful singularity and its endearingly transcendent messages certainly stroke a chord with voters. Nostalgic childhood memories, social justice concerns, artistic rebellion against oppression, and a myriad of other poignant ideas expressed nonverbally with multiple dynamic techniques and a vivid score resonated far beyond the reach of cocktail parties. “Boy and the World” is animation in its purest, most inspired and most heartfelt form. Is art directly from the artist hand, and that’s invaluable.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
Moved by the unexpected nomination director Alê Abreu said, “I am so honored and happy to have our film recognized by the Academy, I have no words. Thank you! It was a great year for animation around the globe, and the Academy's continued recognition of our work will continue to inspire."
That morning, as Guillermo Del Toro read the names of the chosen films, another Gkids nominee was announced to most people’s disbelief. Ghibli is no stranger the Oscar race, but their latest and, for the time being, final film from the legendary Japanese studio, “When Marnie Was There,” opened back in May and seemed to have lost traction as larger productions appeared to dominate not only the box-office but also the collective consciousness of what films would be recognized by the Academy. But one should never ignore Ghibli’s magical way to connect emotionally with audiences and the painstaking effort that takes to create such beautifully drawn treasures. The inclusion of Hiromasa Yonebayashi’s touching coming-of-age story based on a British novel by the same name, rounds up one of the strongest and most distinct group of nominees to have competed for the Best Animated Feature Academy Award.
Ead More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Humbled and grateful for the mention Yonebayashi noted, "I am delighted and honored that 'When Marnie Was There' has been selected by the Academy as a nominee for 'Best Animated Film' of 2015. The selection of the film truly is a tribute to the entire production staff of the film, to whom I express my sincere appreciation. I will continue to endeavor to make films that will be seen and enjoyed by many people. Thank you very much for this honor."
Since 2010 when it earned its first nomination for Tomm Moore’s “The Secret of Kells,” Gkids has collected a total of eight nominations making it a powerhouse in the category - one that pundits should stop underestimating. Gkids’ first double nomination came in 2012 with two very different offers, the moody, Hitchcockian “A Cat in Paris” and the Cuba-set Spanish production “Chico & Rita,“ which is one of the few adult-oriented animated features to have ever been nominated. With the adorable and delicately executed “Ernest & Celestine” Gkids earned its 4th nomination in 2014.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Last year’s frontrunner “The Lego Movie” was shut out, and while one can argue that the movie deserved to be included among that year’s achievements in the medium, when compared to what Moore and Isao Takahata did in their respective hand-drawn masterpieces “Song of the Sea” and the “The Tale of the Princess Kaguya,” it’s simply evident that the best films did in fact make the nominees list. the Princess Kaguya,” it’s simply evident that the best films did in fact make the nominees list. What’s unacceptable, however, is that a company with such a marvelous track record as Gkids is often only considered to be a contender at the nominations stage and has not won the award with any of their superb offers. Once winners reflect the diversity of the nominees in the category then there will finally be a level playing field.
Unfortunately, it’s true that when compared based on their domestic financial success Gkids films are miles away from reaching the large audiences that Pixar and DreamWorks do. Such fact is certainly not based on the achievements of their filmmakers, but on the system with few spaces for alternative options. What the Oscar nominations can do for films like "Boy and the World" and "When Marnie Was There" is to encourage those unaware of their existence to seek them out and allow themselves an experience that could not be provided under the pressures of a studio. At the same time, it proves that, occasionally and as it should be, making a fantastic film is enough to break through.
Read More: Carlos Aguilar's Best Films of 2015 (A Very Personal List)
For 2016, the independent company already has at least two films lined up to amuse their devout following and hopefully expose new audiences to the joys of animation from a global perspective. With French features “April and the Extraordinary World” and “Phantom Boy,” and the first-ever U.S. theatrical release of Takahata’s “Only Yesterday” Gkids will remain at the forefront of what global animation can be outside the multiplex.
Read More: 6 International and Independent 2D-Animated Features in the Oscar Race
This year, while most experts and pundits had their predictions fixated on films such as “The Peanuts Movie, “a well-liked homage to Schultz’ characters, or Pixar’s less prodigious candidate “The Good Dinosaur,” members of the animation committee seemed to ignore the speculation and in a highly unexpected move bestowed the coveted recognition on two five films that reflect the eclectic and broad spectrum of the medium. Curiously enough, the popular choice, “Inside Out,” is in the outlier here, because it’s the only CG film nominated in the category. The other four finalists are handcrafted projects created outside the box-office smashing and toy-selling strategies of large corporations.
One is a stop-motion romance aimed at mature audiences; there is also a critically acclaimed Aardman Studios production inspired by one of its most beloved characters, and two are hand-drawn international features prompted to this level of exposure solely by their undeniable craftsmanship and compelling visual storytelling. These last two candidates couldn’t be more different in stylistic approach and cultural intricacies; however, the fact that they both belong to New York-based independent distributor Gkids’ catalog, places them within an elite collection of animated gems known for their unconventional excellence.
Read More: Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
On January 14th as the as the nominees in the Best Animated Feature category at the 88th Academy Award were revealed, the most shocking appearance, at least for those not familiar with the title, was that of a completely independent and visionary work from Brazil. Alê Abreu‘s mesmerizing musical extravaganza “Boy and the World” has been profoundly adored by those who have given a chance from the very beginning, but that doesn’t always translate into the mass appreciation - much less into Oscar love. Its nomination represents a triumph for uncompromising artists and in particular for Latin American animation. “Boy and the World” is the region’s first nominee and undoubtedly the most achieved animated project ever produced there.
Abreu’s film is utterly unforgettable and can’t fully be compared to anything previously done in the medium. Such colorful singularity and its endearingly transcendent messages certainly stroke a chord with voters. Nostalgic childhood memories, social justice concerns, artistic rebellion against oppression, and a myriad of other poignant ideas expressed nonverbally with multiple dynamic techniques and a vivid score resonated far beyond the reach of cocktail parties. “Boy and the World” is animation in its purest, most inspired and most heartfelt form. Is art directly from the artist hand, and that’s invaluable.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
Moved by the unexpected nomination director Alê Abreu said, “I am so honored and happy to have our film recognized by the Academy, I have no words. Thank you! It was a great year for animation around the globe, and the Academy's continued recognition of our work will continue to inspire."
That morning, as Guillermo Del Toro read the names of the chosen films, another Gkids nominee was announced to most people’s disbelief. Ghibli is no stranger the Oscar race, but their latest and, for the time being, final film from the legendary Japanese studio, “When Marnie Was There,” opened back in May and seemed to have lost traction as larger productions appeared to dominate not only the box-office but also the collective consciousness of what films would be recognized by the Academy. But one should never ignore Ghibli’s magical way to connect emotionally with audiences and the painstaking effort that takes to create such beautifully drawn treasures. The inclusion of Hiromasa Yonebayashi’s touching coming-of-age story based on a British novel by the same name, rounds up one of the strongest and most distinct group of nominees to have competed for the Best Animated Feature Academy Award.
Ead More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Humbled and grateful for the mention Yonebayashi noted, "I am delighted and honored that 'When Marnie Was There' has been selected by the Academy as a nominee for 'Best Animated Film' of 2015. The selection of the film truly is a tribute to the entire production staff of the film, to whom I express my sincere appreciation. I will continue to endeavor to make films that will be seen and enjoyed by many people. Thank you very much for this honor."
Since 2010 when it earned its first nomination for Tomm Moore’s “The Secret of Kells,” Gkids has collected a total of eight nominations making it a powerhouse in the category - one that pundits should stop underestimating. Gkids’ first double nomination came in 2012 with two very different offers, the moody, Hitchcockian “A Cat in Paris” and the Cuba-set Spanish production “Chico & Rita,“ which is one of the few adult-oriented animated features to have ever been nominated. With the adorable and delicately executed “Ernest & Celestine” Gkids earned its 4th nomination in 2014.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Last year’s frontrunner “The Lego Movie” was shut out, and while one can argue that the movie deserved to be included among that year’s achievements in the medium, when compared to what Moore and Isao Takahata did in their respective hand-drawn masterpieces “Song of the Sea” and the “The Tale of the Princess Kaguya,” it’s simply evident that the best films did in fact make the nominees list. the Princess Kaguya,” it’s simply evident that the best films did in fact make the nominees list. What’s unacceptable, however, is that a company with such a marvelous track record as Gkids is often only considered to be a contender at the nominations stage and has not won the award with any of their superb offers. Once winners reflect the diversity of the nominees in the category then there will finally be a level playing field.
Unfortunately, it’s true that when compared based on their domestic financial success Gkids films are miles away from reaching the large audiences that Pixar and DreamWorks do. Such fact is certainly not based on the achievements of their filmmakers, but on the system with few spaces for alternative options. What the Oscar nominations can do for films like "Boy and the World" and "When Marnie Was There" is to encourage those unaware of their existence to seek them out and allow themselves an experience that could not be provided under the pressures of a studio. At the same time, it proves that, occasionally and as it should be, making a fantastic film is enough to break through.
Read More: Carlos Aguilar's Best Films of 2015 (A Very Personal List)
For 2016, the independent company already has at least two films lined up to amuse their devout following and hopefully expose new audiences to the joys of animation from a global perspective. With French features “April and the Extraordinary World” and “Phantom Boy,” and the first-ever U.S. theatrical release of Takahata’s “Only Yesterday” Gkids will remain at the forefront of what global animation can be outside the multiplex.
- 1/21/2016
- by Carlos Aguilar
- Sydney's Buzz
Alê Abreu's Boy and the World is an enchanting, infectious and at times somber experience. There is no real dialogue in his film to drive the story forward, instead he uses gorgeous visual expressions and minor guttural utterances. You do not have to be told what is happening, the story comes across loud and clear. Abreu was kind enough to answer our questions via e-mail as he traversed the globe with his film. With the theatrical run of the film expanding this weekend it is perfect time to catch up with the director and chat about themes and methods. ...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 1/20/2016
- Screen Anarchy
A call from the president of Colombia; not waking the kids; and sharing the news with a shop assistant - how Thursday morning’s good news played out.Oscars 2016‘The Revenant’ leads Oscar race with 12 nomsFull list of nominations
‘The Revenant’ leads Oscar race with 12 nominationsScott, Spielberg, Sorkin shut out
Best Picture nominees at a glance
Comment: Oscar nominations reward ambition
Galleries: Best Picture; Actors
Titles listed in alphabetical order
45 Years
Charlotte Rampling (Lead actress): “I am deeply moved and thrilled by this nomination. Thank you to the Academy for recognizing 45 Years. Having the wonderful experience of working with the great Tom Courtenay and Andrew Haigh was a truly rewarding experience and I am simply delighted to have everyone’s hard work and true collaboration honoured by our friends and peers in the Academy.”
Amy
Asif Kapadia (Documentary): “The Academy Award nomination for best documentary is an incredible honour, thank you to...
‘The Revenant’ leads Oscar race with 12 nominationsScott, Spielberg, Sorkin shut out
Best Picture nominees at a glance
Comment: Oscar nominations reward ambition
Galleries: Best Picture; Actors
Titles listed in alphabetical order
45 Years
Charlotte Rampling (Lead actress): “I am deeply moved and thrilled by this nomination. Thank you to the Academy for recognizing 45 Years. Having the wonderful experience of working with the great Tom Courtenay and Andrew Haigh was a truly rewarding experience and I am simply delighted to have everyone’s hard work and true collaboration honoured by our friends and peers in the Academy.”
Amy
Asif Kapadia (Documentary): “The Academy Award nomination for best documentary is an incredible honour, thank you to...
- 1/14/2016
- ScreenDaily
Last year Latin American films garnered an impressive haul of awards from some of the most important film festivals around including Sundance, Berlin, Cannes, and Venice. “The Second Mother, “ “The Club,” “From Afar, “ “Land and Shade, “ “600 Miles," and “Ixcanul, “ were some of the works that demonstrated the aesthetic quality and thematic diversity the region’s cinema currently boasts. But while critics and festival juries clearly appreciate the risk-taking stance of Latin American filmmakers, Hollywood awards groups rarely follow suit. The industry is willing to honor Latino talent - like the Academy Awards did last year - but not so much Latino stories.
Argentina is the only Latin American country to have ever won the Academy Award for Best Foreign Language Film. Mexico, Brazil, Peru, Chile, Nicaragua, and Cuba have been nominated but have failed to take the coveted statuette home. Success in other categories has been even more unusual with films like the Spanish animated feature set in Cuba “Chico & Rita” or last year’s Oscar nominated documentary short “The Reaper” being two of the very few examples.
For the 88th edition of the prestigious ceremony, seven films, which are either by Latin American directors or that tell stories centered in Latin America, are in the running to represent the cultural heritage, political concerns, and the everyday lives of its people in unconventional ways that range from animation to heart-racing documentaries. Whatever the final results may be, the caliber of Latin American achievements in film to grace the screen in the past 12 months is undeniable.
Best Foreign Language Film
"Embrace of the Serpent" (Colombia)
Dir. Ciro Guerra
Strikingly beautiful and laced with poetic mysticism, Ciro Guerra’s most accomplished work to date follows the journey of two European explores at particular times in history as they are guided through the Amazon by Karamakate, an imposing local shaman man who is wary of their intentions.
"Viva" (Ireland)
Dir. Paddy Breathnach
Jesus, a young gay man in Havana, only finds relief from his daily struggles when he transforms into a drag performer in front of an eager audience, but when his macho father returns after decades away his dreams are jeopardized. This Irish production set in Cuba is a delightful work that thrives on authenticity and emotionally layered performances. Although the film is represented the European country, the passionate narrative is authentically Cuban and captures the essence of the isolated island with admirable sincerity.
Read More: 'Viva' Director Paddy Breathnach on Making an Irish Film in Cuba and Visceral Transformation
Best Animated Feature
"Boy and the World" (Brazil)
Dir. Alê Abreu
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Abreu’s animated masterpiece could become the first Latin American animated feature to be nominated in the category.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
Best Documentary Feature
Cartel Land" (U.S./ Mexico)
Dir. Matthew Heineman
Matthew Heineman's film is indeed a gruesome and riveting account of how the narco violence has kept entire towns in the Mexican state of Michoacán hostage, and how a group of civilians, the "Autodefensas," took matters into their own hands and became a reactive rogue institution that had, initially, no ties to the federal government. "Cartel Land" bravely tackles this overwhelming matter with compassion for the victims and as much objectivity as possible towards the political questions it raises. Though it can’t possibly give us definitive answers, it’s a great vehicle to raise awareness and demand action.
Best Live Action Short Film
"Contrapelo" (Mexico)
Dir. Gareth Dunnet Alcocer
A respected Mexican barber with strong views about the atrocities committed by organized crime finds himself in a difficult position when is forced to decide whether to eliminate part of the problem or stick to his profession. Intimate in scope, yet decisive in its moral questioning of the situation, Gareth Dunnet Alcocer ‘s short offers two memorable performances and a brutally honest conclusion.
Best Animated Short Film
"Bear Story" (Chile)
Dir. Gabriel Osorio Vargas
Using the touching story of a bear who is ripped away from his family to forcefully work at a circus as a metaphor to revisit one of Chilean history’s darkest chapters, this gorgeous 3D animated short showcases incredible textural detail and visual storytelling of the most powerful and universal kind.
Best Documentary Short Film
"Minerita" (Spain/Bolivia)
Dir. Raúl de la Fuente
A group of Bolivian women working in the Potosi mines share the harrowing struggles they must endure to make a living and survive under incredibly harsh conditions. Constantly being sexually harassed by the male miners, living perpetually scared of being raped or killed, and dealing with the demanding physical labor, make their accounts both heroic and tragic.
Argentina is the only Latin American country to have ever won the Academy Award for Best Foreign Language Film. Mexico, Brazil, Peru, Chile, Nicaragua, and Cuba have been nominated but have failed to take the coveted statuette home. Success in other categories has been even more unusual with films like the Spanish animated feature set in Cuba “Chico & Rita” or last year’s Oscar nominated documentary short “The Reaper” being two of the very few examples.
For the 88th edition of the prestigious ceremony, seven films, which are either by Latin American directors or that tell stories centered in Latin America, are in the running to represent the cultural heritage, political concerns, and the everyday lives of its people in unconventional ways that range from animation to heart-racing documentaries. Whatever the final results may be, the caliber of Latin American achievements in film to grace the screen in the past 12 months is undeniable.
Best Foreign Language Film
"Embrace of the Serpent" (Colombia)
Dir. Ciro Guerra
Strikingly beautiful and laced with poetic mysticism, Ciro Guerra’s most accomplished work to date follows the journey of two European explores at particular times in history as they are guided through the Amazon by Karamakate, an imposing local shaman man who is wary of their intentions.
"Viva" (Ireland)
Dir. Paddy Breathnach
Jesus, a young gay man in Havana, only finds relief from his daily struggles when he transforms into a drag performer in front of an eager audience, but when his macho father returns after decades away his dreams are jeopardized. This Irish production set in Cuba is a delightful work that thrives on authenticity and emotionally layered performances. Although the film is represented the European country, the passionate narrative is authentically Cuban and captures the essence of the isolated island with admirable sincerity.
Read More: 'Viva' Director Paddy Breathnach on Making an Irish Film in Cuba and Visceral Transformation
Best Animated Feature
"Boy and the World" (Brazil)
Dir. Alê Abreu
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Abreu’s animated masterpiece could become the first Latin American animated feature to be nominated in the category.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
Best Documentary Feature
Cartel Land" (U.S./ Mexico)
Dir. Matthew Heineman
Matthew Heineman's film is indeed a gruesome and riveting account of how the narco violence has kept entire towns in the Mexican state of Michoacán hostage, and how a group of civilians, the "Autodefensas," took matters into their own hands and became a reactive rogue institution that had, initially, no ties to the federal government. "Cartel Land" bravely tackles this overwhelming matter with compassion for the victims and as much objectivity as possible towards the political questions it raises. Though it can’t possibly give us definitive answers, it’s a great vehicle to raise awareness and demand action.
Best Live Action Short Film
"Contrapelo" (Mexico)
Dir. Gareth Dunnet Alcocer
A respected Mexican barber with strong views about the atrocities committed by organized crime finds himself in a difficult position when is forced to decide whether to eliminate part of the problem or stick to his profession. Intimate in scope, yet decisive in its moral questioning of the situation, Gareth Dunnet Alcocer ‘s short offers two memorable performances and a brutally honest conclusion.
Best Animated Short Film
"Bear Story" (Chile)
Dir. Gabriel Osorio Vargas
Using the touching story of a bear who is ripped away from his family to forcefully work at a circus as a metaphor to revisit one of Chilean history’s darkest chapters, this gorgeous 3D animated short showcases incredible textural detail and visual storytelling of the most powerful and universal kind.
Best Documentary Short Film
"Minerita" (Spain/Bolivia)
Dir. Raúl de la Fuente
A group of Bolivian women working in the Potosi mines share the harrowing struggles they must endure to make a living and survive under incredibly harsh conditions. Constantly being sexually harassed by the male miners, living perpetually scared of being raped or killed, and dealing with the demanding physical labor, make their accounts both heroic and tragic.
- 1/13/2016
- by Carlos Aguilar
- Sydney's Buzz
If the films of 2015 have a common denominator it’s the fearlessness with which filmmakers approached the medium and took it in new directions proving that innovation is still possible and that not everything, both in content and form, has been explored. From a comedy shot entirely on an iPhone starring transgender actresses, to a film in sign language designed to be screened without subtitles, to a stop-motion animated feature that emanates more humanity than most live-action efforts, to a new immersive vision of the Holocaust from an emerging auteur, or a Brazilian hand-drawn musical odyssey about the dangers of the modern world, all granted us experiences unlike anything we've previously seen.
It’s hard to tell how many films I watched this year but I’m sure they were many. From that vast pool of cinematic works the 30 films below are the ones that stood out the most and remained ingrained in my memory as rewarding, delightful, moving, and even harrowing accomplishments. There were also films that simply didn't connect as strongly with me as they did with other journalists and audiences, thus they don't appear here. This is after all, like all of them, a very personal and subjective list of the films I loved.
Even with such an extensive list there are still other great films that deserve to be mentioned such as "The Young and Prodigious T.S. Spivet," "Christmas, Again," "Mistress America," "Entertainment," "Felix and Meira," "Victoria," "Mustang," "The Wolfpack," "Xenia," Estonia's Oscar-nominated "Tangerines," "Buzzard," "The Salt of the Earth," "Guidance," "Cheatin'," "Black Souls,""The Mend," "Shaun The Sheep Movie," or "'71." One can only hope audiences will discover them and be compelled by their singular perspectives.
What were your favorite films of 2015?
Special Mention: "World of Tomorrow"
Don Hertzfeldt's thought-provoking and visionary Sundance-winning short "World of Tomorrow" is easily the best short film of the year, animated or otherwise. This 17-minute science fiction journey is a mind-bending study on the essence of humanity and how technology’s ferocious advances to know and control it all endanger our ability to notice what’s truly meaningful.
Read More: 'The 17th Annual Animation Show of Shows' is One of the Most Profound Cinematic Experiences of 2015
30. "It Follows"
The best horror film of the year proves that an intriguing premise embedded into an intelligently written screenplay can bring a refreshing point of view absent in most studio productions. Director David Robert Mitchell takes classic genre conventions and twists them into a terrifying tale with morally ambiguous undertones.
29. "The Gift"
Wearing multiple hats Joel Edgerton demonstrated his storytelling and acting talents in an unpredictable psychological thriller that’s as unassuming as it’s disconcerting. An old friend reappears in a married man’s life apparently seeking to rekindle their past bond, but soon enough his good intentions will unveil much more sinister motives that makes us question who the real villain is. A stunning and perversely brilliant film that thrives on its misguiding simplicity.
28. "Heaven Knows What"
An accomplishment both in technique and emotional power, “Heaven Knows What” is an eye-opening experience brimming with unflinching truth. From the streets to the screen, the unbelievable story of Arielle Holmes is a fascinating example of the rare occurrence when cinema and reality blend almost seamlessly.
Read More: 'Heaven Knows What' Directors Josh and Benny Safdie Are Addicted to the Truth
27. "Kahlil Gibran's The Prophet"
Spearheaded by producer Salma Hayek, director Roger Allers and 8 of the world's most talented independent animators took Gibran's timeless poems and assembled a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
26. "James White"
This emotionally devastating character study put Josh Mond in the director’s chair for the first time and allowed Christopher Abbott and Cynthia Nixon to delve into career-defining roles as a mother and a son struggling to accept each other’s shortcomings in the face of impending tragedy. Mond’s debut is an unforgettable portrait of unconditional love
25. "The Big Short"
The financial crisis and the white-collar criminals behind it are examined in an outrageously humorous and dynamically constructed adaptation of Michael Lewis's book. Director Adam McKay crafted his own visual language to paint a picture of capitalism in America that’s as brutally honest as it’s infuriating. His entire cast, in particular Christian Bale, Ryan Gosling, and Steve Carell, play along in this satirical exposé.
24. "The Second Mother"
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
23. "Kumiko The Treasure Hunter"
Losing grip on reality Kumiko, a solitary Japanese woman, leaves her monotonous and life and her adorable bunny Bunzo behind to search for the money Steve Buscemi’s character hides in the Cohen Brothers’ film “Fargo.” Knowing very little English and with no American contacts, she ventures in the Minnesotan wilderness. Armed with Rinko Kikuchi ’s outstanding performance, David Zellner and Nathan Zellner managed to create an endearing and poignant adventure at the intersection between fiction and reality.
22. "When Marnie Was There"
Notably current while still unequivocally timeless, Studio Ghibli’s latest film was confected with equal doses of heart-rending drama and life-affirming beauty. More than just a visually delightful tearjerker, "When Marnie Was There" is an animated lullaby that reassures our broken hearts will eventually heal- even from the most indomitable tricks of fate.
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
21. "The Hateful Eight"
Sharp dialogue and the search for violent retribution are Tarantino staples, and in his latest Western the revered director channels these through a group of deceitful characters confined to a single location. Race relations are examined via the peculiar interactions of the murderous bunch - each with their ulterior motives and frightening reputation. With a magnificent score by Ennio Morricone, impeccable cinematography by Robert Richardson, and tonally perfect performances by the ensemble cast, in which Jennifer Jason Leigh and Kurt Russell are the highlights, “The Hateful Eight” is a highly entertaining addition to Tarantino's selective filmography.
20. "What We Do in the Shadows"
This masterful mockumentary capitalizes on the general public’s obsession with reality shows and the allure of vampirism and its promise of eternal life. Four ancient bloodsuckers share a house in Wellington, New Zealand and decide to let a crew film their day-to-day routines as vampires living in the modern world. What ensues are a series of intelligently written occurrences that transform every known convention about these creatures of the night into hysterical gags.
19. "The Revenant"
To say Alejandro González Iñárritu’s latest is breathtaking would be an understatement. Emmanuel Lubezkii’s work is absolutely astonishing. No other film this year captured this much beauty in every single frame. The Mexican-born Oscar-winning director has reached a new level of artistry here. Leonardo DiCaprio, in one of the best performances of his career, plays Hugh Glass, a man who escapes death to take revenge on the man who killed his son.
18. "Inside Out"
Pixar ventured into the difficult task of decoding the complexity of the human psyche in one of their best features to date. Emotions take on humanoid form in the brain of a young girl adjusting to life in anew city. Joy, Sadness, Anger, Fear, and Disgust must work together to shape her blossoming personality. “Inside Out” also gifted us Bing Bong, who will go down as one of the most memorable animated characters to ever grace the screen.
17. "Ex Machina"
Artificial intelligence crosses the boundaries of mere functionality to become self-aware and to replicate the behaviors of mortals in Alex Garland “Ex Machina.” The provocative screenplay evolves into a fascinating and often unsettling dissection of what it means to be a human being and the seemingly godlike power that comes from creating technology that resembles such qualities. Alicia Vikander is riveting as Ava - a mysterious female A.I.
16. "The Diary of a Teenager Girl"
Bel Powley is this year’s acting revelation and Marielle Heller the woman behind this charming, uncompromising, and original coming of age film, is one of most exciting new directors to emerge in recent memory. Burgeoning female sexuality is treated without moral judgment or shame, and it’s instead embraced in an empowering manner that overflows with truthfulness and charisma. Both Kristen Wiig and Alexander Skarsgård are outstanding in substantial supporting roles.
15. "Taxi"
Despite being banned from filmmaking by the Iranian government, Jafar Panahi continues to bravely expose the political and social problems of his home country with films shot in secrecy. “Taxi” takes the director through the streets of Tehran as he picks up an array of passengers with distinct concerns, beliefs, and opinions on the Islamic nation’s current situation: a young girl trying to make a “distributable” film, a guy who considers selling pirated films a cultural campaign, or a pair of elderly women whose fate depends on the survival of a couple fish. Though scripted, each encounter exudes honesty.
14. "The Duke of Burgundy"
Intoxicatingly atmospheric and full of evocative imagery, Peter Strickland’s follow up to his similarly unusual debut “Berberian Sound Studio” looks at the psychology of sexual desires with a seductive gaze. The line dividing power and submission is blurred and interchangeable between two lovers whose turbulent relationship is juxtaposed with the nature of butterflies. Eroticism derived from degradation and punishment is elegantly approached that suggest more than it explicitly shows.
13. "Phoenix"
The final sequence in this new collaboration between writer/director Christian Petzold and actress Nina Hoss is one of the best conclusions ever written. It’s subtle, yet strikingly revelatory. Departing from a Hitchcockian mistaken identity plot from the point of view of a concentration camp survivor, Petzold delves into Germany’s post war sentiments of guilt and the beginning of the long road to rebuild a superficially and morally shattered nation. “Phoenix” is also a love story coated in betrayal and the harsh realization that, when tested, even the strongest bond can be destroyed. Hoss gives an awards-deserving, restrained and perfectly nuanced performance.
Read More: Christian Petzold's 'Phoenix' is a Deeply Moving Film About Survivors Rebuilding Their Lives
12. "Timbuktu"
Today, perhaps more than ever, a film like Abderrahmane Sissako’s spellbinding “Timbuktu” is imperative. Capturing some of the most beautiful African landscapes ever seen on film and delicately arranging his stories to create a tapestry of human experiences, Sissako’s latest doesn’t abide by any political or religious dogma. Instead, his vision preaches openness and denounces the terrifying absurdity of the world according to extremist.
Read More: Promoting Tolerance: Abderrahmane Sissako on 'Timbuktu' and a Different Kind of Islam
11. "The Voices"
Playing Jerry, the most charming serial killer you’ll ever meet, Ryan Reynolds gives the best performance of his career in Marjane Satrapi’s wonderfully insane horror comedy. Adding to his already outstanding work as the lovable, if unstable young man, Reynolds also voices both of his character's opinionated pets. Stay tuned after the film for one of the most ridiculous credit sequences ever.
Read More: Too Insane To Ignore: Marjane Satrapi On Her Fascinating Sundance Horror-Comedy 'The Voices'
10. "Güeros"
Using one of the most cosmopolitan and complex cities in the world as his canvas, Mexican filmmaker Alonso Ruizpalacios delivered an audaciously original story that delves into many unique aspects of Mexican society wrapped up into a road trip adventure that helps two estrange brothers reconnect.
It’s a revitalizing work, and one of the best Mexican films of the last decade.
Read More: In 'Güeros' Dir. Alonso Ruizpalacios Rediscovered Mexico City Via a Unique Road Trip
9. "Me and Earl and the Dying Girl"
Read More: How Alfonso Gomez-Rejon Used Determinación to Go From a Small Town to Nyu to Sundance
Alfonso Gomez-Rejon's Sundance champion is a tonally nuanced and visually inventive work that ingeniously beguiles you to fall in love with every instant of its strangely imaginative magic. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters. It's nothing short of a cinephile's dream come true.
Read More: This is the Review That Tells You Why 'Me and Earl and the Dying Girl' is a Cinephile's Dream Come True
8. "A Pigeon Sat on a Branch Reflecting on Existence"
Constructed of gorgeously understated vignettes, which guide us through the grandeur of life by methodically focusing on the smallest but most resonant instants of it, "A Pigeon Sat on a Branch Reflecting on Existence" by Swedish writer/director Roy Andersson won the Golden Lion at last’s year’s Venice Film Festival. Delving into a wide range of quotidian dilemmas via darkly comedic exploits, this episodic tour de force is as insightful as it’s blissfully entertaining and distinctively stylized.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
7. "Tangerine"
Sean Baker's riotous and perfectly acted latest film shot on an iPhone “Tangerine” centers on Alexandra (Mya Taylor) and Sin-Dee (Kitana Kiki Rodriguez), two transgender sex workers on Santa Monica Boulevard who struggle to get by while dealing with heartbreak, revenge, and their dreams.
Baker captured an unseen side of Los Angeles through the eyes of two equally underrepresented characters who get a chance to showcase their comedic brilliance.
Read More: How Sean Baker Used Beautiful Accidents and New Talent to Deliver one of the Best Films of the Year
6. "The Look of Silence"
For “The Look of Silence,” the indispensable companion piece to "The Act of Killing," director Joshua Oppenheimer focused on the survivors, specifically on a brave family that persevered through the immeasurable pain that quietly permeates Indonesian society even half a century after the genocide. The subjects here are often quiet and contemplative, but their anguish transcends even when words fail to describe their tumultuous sentiments.
Read More: 12 Things Joshua Oppenheimer Wants You to Know About 'The Look of Silence'
5. "Anomalisa"
In "Anomalisa," a delicately melancholic observation on loneliness and the flawed human condition, acclaimed writer-director Charlie Kaufman and co-director Duke Johnson use stop-motion animation to tell a story of small proportions and big ideas. These existential observations include our fears, failures, insecurities and our desperate need to be loved by someone who can look pass our conspicuous scars.
Read More: Human at the Seams: Charlie Kaufman and Duke Johnson Make Yearning Tangible in 'Anomalisa'
4. "The Tribe"
“The Tribe,” by Ukrainian debutant Miroslav Slaboshpitsky, is a film that communicates with its audience in a non-verbal manner. There are no subtitles or any other way to know exactly what the characters on screen are saying, but that’s never an issue for it to powerfully make its message heard. It’s the purest form of cinema because it can be shown anywhere in the world without modification, and the devastating result would be the same.
Read More: Interviewing Yana Novikova, Star of 'The Tribe,' Was a One-of-a-Kind Experience
3. "Boy and the World"
Alê Abreu’s “Boy and the World” is unequivocally the best animated film of the year. Drawn with the finest ends of an artist's heartstrings and painted with the colorful essence of undefeatable hope, Abreu’s utterly lyrical, visually captivating, musically driven, and extraordinarily sophisticated treasure is the animated equivalent of a childhood dream that thrives on sweet innocence and the pure ability to see the world truthfully for its dazzling beauty and its man-made dangers. As it continues to spellbind the globe with its unconventional artistry and thought-provoking observations, an Oscar nomination would be a more than deserved crown jewel.
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
2. "Carol"
Exquisitely photographed and fueled by the two best performances of the year, Todd Haynes “Carol” depicts an ethereal and ravishing romance that’s sure to take your breath away. Rooney Mara and Cate Blanchett play two women from opposite worlds that meet serendipitously and fall madly in love for each other in a time yet unwilling to accept them. Carol (Blanchett) is a wealthy mother and wife whose desires are used against her threatening to stripped her of what she loves the most. On the other hand Therese (Mara) is a working class girl discovering herself and who finds the strength to follow her true instincts in Carol. Heartbreak has rarely been portrayed with such a delicate touch, thoughtfulness, and sincerity. Beneath the glossy Christmas-tinted frames is a story as universal as it is particular in which a single pleading look disarms you. Few films will make you feel such tangible and pure yearning to connect with another soul as Haynes masterwork does.
1. "Son of Saul"
First-time director László Nemes decided to look at the terrifying apparatus behind the Holocaust from the perspective of the Sonderkommando, a group of men whose experience was exponentially more harrowing than that of the average victim. Nemes focuses on a particular man, Saul (Géza Röhrig), a fictional character created from the limited information available on this special group and the filmmaker’s artistic sensibilities.“Son of Saul” is not only the best film of the year, but also the most ambitious debut in ages. Both conceptually and visually, the dynamic, yet organically contemplative vision of one man’s ordeal as he walks through the gates the hell is the work of a master auteur.
Read More: 12 Things Director László Nemes and Star Géza Röhrig Want You to Know About 'Son of Saul'...
It’s hard to tell how many films I watched this year but I’m sure they were many. From that vast pool of cinematic works the 30 films below are the ones that stood out the most and remained ingrained in my memory as rewarding, delightful, moving, and even harrowing accomplishments. There were also films that simply didn't connect as strongly with me as they did with other journalists and audiences, thus they don't appear here. This is after all, like all of them, a very personal and subjective list of the films I loved.
Even with such an extensive list there are still other great films that deserve to be mentioned such as "The Young and Prodigious T.S. Spivet," "Christmas, Again," "Mistress America," "Entertainment," "Felix and Meira," "Victoria," "Mustang," "The Wolfpack," "Xenia," Estonia's Oscar-nominated "Tangerines," "Buzzard," "The Salt of the Earth," "Guidance," "Cheatin'," "Black Souls,""The Mend," "Shaun The Sheep Movie," or "'71." One can only hope audiences will discover them and be compelled by their singular perspectives.
What were your favorite films of 2015?
Special Mention: "World of Tomorrow"
Don Hertzfeldt's thought-provoking and visionary Sundance-winning short "World of Tomorrow" is easily the best short film of the year, animated or otherwise. This 17-minute science fiction journey is a mind-bending study on the essence of humanity and how technology’s ferocious advances to know and control it all endanger our ability to notice what’s truly meaningful.
Read More: 'The 17th Annual Animation Show of Shows' is One of the Most Profound Cinematic Experiences of 2015
30. "It Follows"
The best horror film of the year proves that an intriguing premise embedded into an intelligently written screenplay can bring a refreshing point of view absent in most studio productions. Director David Robert Mitchell takes classic genre conventions and twists them into a terrifying tale with morally ambiguous undertones.
29. "The Gift"
Wearing multiple hats Joel Edgerton demonstrated his storytelling and acting talents in an unpredictable psychological thriller that’s as unassuming as it’s disconcerting. An old friend reappears in a married man’s life apparently seeking to rekindle their past bond, but soon enough his good intentions will unveil much more sinister motives that makes us question who the real villain is. A stunning and perversely brilliant film that thrives on its misguiding simplicity.
28. "Heaven Knows What"
An accomplishment both in technique and emotional power, “Heaven Knows What” is an eye-opening experience brimming with unflinching truth. From the streets to the screen, the unbelievable story of Arielle Holmes is a fascinating example of the rare occurrence when cinema and reality blend almost seamlessly.
Read More: 'Heaven Knows What' Directors Josh and Benny Safdie Are Addicted to the Truth
27. "Kahlil Gibran's The Prophet"
Spearheaded by producer Salma Hayek, director Roger Allers and 8 of the world's most talented independent animators took Gibran's timeless poems and assembled a cinematic out-of-body experience that deconstructs our existential yearnings and translates them into mesmerizing animated wisdom.
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
26. "James White"
This emotionally devastating character study put Josh Mond in the director’s chair for the first time and allowed Christopher Abbott and Cynthia Nixon to delve into career-defining roles as a mother and a son struggling to accept each other’s shortcomings in the face of impending tragedy. Mond’s debut is an unforgettable portrait of unconditional love
25. "The Big Short"
The financial crisis and the white-collar criminals behind it are examined in an outrageously humorous and dynamically constructed adaptation of Michael Lewis's book. Director Adam McKay crafted his own visual language to paint a picture of capitalism in America that’s as brutally honest as it’s infuriating. His entire cast, in particular Christian Bale, Ryan Gosling, and Steve Carell, play along in this satirical exposé.
24. "The Second Mother"
Anna Muylaert’s crowd-pleasing, yet thematically complex gem delves into the intricacies of class in Brazilian society through the eyes of an endearing live-in maid. Regina Casé, in an Oscar-worthy performance, becomes Val, a diligent and humble housekeeper that has worked with the same wealthy family in Sao Paulo for many years and who only questions her role within this environment when her strange daughter comes to visit.
Read More: Anna Muylaert on Why the Protagonist of 'The Second Mother' is a Super Hero
23. "Kumiko The Treasure Hunter"
Losing grip on reality Kumiko, a solitary Japanese woman, leaves her monotonous and life and her adorable bunny Bunzo behind to search for the money Steve Buscemi’s character hides in the Cohen Brothers’ film “Fargo.” Knowing very little English and with no American contacts, she ventures in the Minnesotan wilderness. Armed with Rinko Kikuchi ’s outstanding performance, David Zellner and Nathan Zellner managed to create an endearing and poignant adventure at the intersection between fiction and reality.
22. "When Marnie Was There"
Notably current while still unequivocally timeless, Studio Ghibli’s latest film was confected with equal doses of heart-rending drama and life-affirming beauty. More than just a visually delightful tearjerker, "When Marnie Was There" is an animated lullaby that reassures our broken hearts will eventually heal- even from the most indomitable tricks of fate.
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
21. "The Hateful Eight"
Sharp dialogue and the search for violent retribution are Tarantino staples, and in his latest Western the revered director channels these through a group of deceitful characters confined to a single location. Race relations are examined via the peculiar interactions of the murderous bunch - each with their ulterior motives and frightening reputation. With a magnificent score by Ennio Morricone, impeccable cinematography by Robert Richardson, and tonally perfect performances by the ensemble cast, in which Jennifer Jason Leigh and Kurt Russell are the highlights, “The Hateful Eight” is a highly entertaining addition to Tarantino's selective filmography.
20. "What We Do in the Shadows"
This masterful mockumentary capitalizes on the general public’s obsession with reality shows and the allure of vampirism and its promise of eternal life. Four ancient bloodsuckers share a house in Wellington, New Zealand and decide to let a crew film their day-to-day routines as vampires living in the modern world. What ensues are a series of intelligently written occurrences that transform every known convention about these creatures of the night into hysterical gags.
19. "The Revenant"
To say Alejandro González Iñárritu’s latest is breathtaking would be an understatement. Emmanuel Lubezkii’s work is absolutely astonishing. No other film this year captured this much beauty in every single frame. The Mexican-born Oscar-winning director has reached a new level of artistry here. Leonardo DiCaprio, in one of the best performances of his career, plays Hugh Glass, a man who escapes death to take revenge on the man who killed his son.
18. "Inside Out"
Pixar ventured into the difficult task of decoding the complexity of the human psyche in one of their best features to date. Emotions take on humanoid form in the brain of a young girl adjusting to life in anew city. Joy, Sadness, Anger, Fear, and Disgust must work together to shape her blossoming personality. “Inside Out” also gifted us Bing Bong, who will go down as one of the most memorable animated characters to ever grace the screen.
17. "Ex Machina"
Artificial intelligence crosses the boundaries of mere functionality to become self-aware and to replicate the behaviors of mortals in Alex Garland “Ex Machina.” The provocative screenplay evolves into a fascinating and often unsettling dissection of what it means to be a human being and the seemingly godlike power that comes from creating technology that resembles such qualities. Alicia Vikander is riveting as Ava - a mysterious female A.I.
16. "The Diary of a Teenager Girl"
Bel Powley is this year’s acting revelation and Marielle Heller the woman behind this charming, uncompromising, and original coming of age film, is one of most exciting new directors to emerge in recent memory. Burgeoning female sexuality is treated without moral judgment or shame, and it’s instead embraced in an empowering manner that overflows with truthfulness and charisma. Both Kristen Wiig and Alexander Skarsgård are outstanding in substantial supporting roles.
15. "Taxi"
Despite being banned from filmmaking by the Iranian government, Jafar Panahi continues to bravely expose the political and social problems of his home country with films shot in secrecy. “Taxi” takes the director through the streets of Tehran as he picks up an array of passengers with distinct concerns, beliefs, and opinions on the Islamic nation’s current situation: a young girl trying to make a “distributable” film, a guy who considers selling pirated films a cultural campaign, or a pair of elderly women whose fate depends on the survival of a couple fish. Though scripted, each encounter exudes honesty.
14. "The Duke of Burgundy"
Intoxicatingly atmospheric and full of evocative imagery, Peter Strickland’s follow up to his similarly unusual debut “Berberian Sound Studio” looks at the psychology of sexual desires with a seductive gaze. The line dividing power and submission is blurred and interchangeable between two lovers whose turbulent relationship is juxtaposed with the nature of butterflies. Eroticism derived from degradation and punishment is elegantly approached that suggest more than it explicitly shows.
13. "Phoenix"
The final sequence in this new collaboration between writer/director Christian Petzold and actress Nina Hoss is one of the best conclusions ever written. It’s subtle, yet strikingly revelatory. Departing from a Hitchcockian mistaken identity plot from the point of view of a concentration camp survivor, Petzold delves into Germany’s post war sentiments of guilt and the beginning of the long road to rebuild a superficially and morally shattered nation. “Phoenix” is also a love story coated in betrayal and the harsh realization that, when tested, even the strongest bond can be destroyed. Hoss gives an awards-deserving, restrained and perfectly nuanced performance.
Read More: Christian Petzold's 'Phoenix' is a Deeply Moving Film About Survivors Rebuilding Their Lives
12. "Timbuktu"
Today, perhaps more than ever, a film like Abderrahmane Sissako’s spellbinding “Timbuktu” is imperative. Capturing some of the most beautiful African landscapes ever seen on film and delicately arranging his stories to create a tapestry of human experiences, Sissako’s latest doesn’t abide by any political or religious dogma. Instead, his vision preaches openness and denounces the terrifying absurdity of the world according to extremist.
Read More: Promoting Tolerance: Abderrahmane Sissako on 'Timbuktu' and a Different Kind of Islam
11. "The Voices"
Playing Jerry, the most charming serial killer you’ll ever meet, Ryan Reynolds gives the best performance of his career in Marjane Satrapi’s wonderfully insane horror comedy. Adding to his already outstanding work as the lovable, if unstable young man, Reynolds also voices both of his character's opinionated pets. Stay tuned after the film for one of the most ridiculous credit sequences ever.
Read More: Too Insane To Ignore: Marjane Satrapi On Her Fascinating Sundance Horror-Comedy 'The Voices'
10. "Güeros"
Using one of the most cosmopolitan and complex cities in the world as his canvas, Mexican filmmaker Alonso Ruizpalacios delivered an audaciously original story that delves into many unique aspects of Mexican society wrapped up into a road trip adventure that helps two estrange brothers reconnect.
It’s a revitalizing work, and one of the best Mexican films of the last decade.
Read More: In 'Güeros' Dir. Alonso Ruizpalacios Rediscovered Mexico City Via a Unique Road Trip
9. "Me and Earl and the Dying Girl"
Read More: How Alfonso Gomez-Rejon Used Determinación to Go From a Small Town to Nyu to Sundance
Alfonso Gomez-Rejon's Sundance champion is a tonally nuanced and visually inventive work that ingeniously beguiles you to fall in love with every instant of its strangely imaginative magic. This tragicomedy invokes tropes from a familiar realm and deconstructs or tailors them to the uniquely poignant circumstances of it's characters. It's nothing short of a cinephile's dream come true.
Read More: This is the Review That Tells You Why 'Me and Earl and the Dying Girl' is a Cinephile's Dream Come True
8. "A Pigeon Sat on a Branch Reflecting on Existence"
Constructed of gorgeously understated vignettes, which guide us through the grandeur of life by methodically focusing on the smallest but most resonant instants of it, "A Pigeon Sat on a Branch Reflecting on Existence" by Swedish writer/director Roy Andersson won the Golden Lion at last’s year’s Venice Film Festival. Delving into a wide range of quotidian dilemmas via darkly comedic exploits, this episodic tour de force is as insightful as it’s blissfully entertaining and distinctively stylized.
Read More: 7 Reasons Why Roy Andersson's Latest Film is a Must-See Philosophical Wonder
7. "Tangerine"
Sean Baker's riotous and perfectly acted latest film shot on an iPhone “Tangerine” centers on Alexandra (Mya Taylor) and Sin-Dee (Kitana Kiki Rodriguez), two transgender sex workers on Santa Monica Boulevard who struggle to get by while dealing with heartbreak, revenge, and their dreams.
Baker captured an unseen side of Los Angeles through the eyes of two equally underrepresented characters who get a chance to showcase their comedic brilliance.
Read More: How Sean Baker Used Beautiful Accidents and New Talent to Deliver one of the Best Films of the Year
6. "The Look of Silence"
For “The Look of Silence,” the indispensable companion piece to "The Act of Killing," director Joshua Oppenheimer focused on the survivors, specifically on a brave family that persevered through the immeasurable pain that quietly permeates Indonesian society even half a century after the genocide. The subjects here are often quiet and contemplative, but their anguish transcends even when words fail to describe their tumultuous sentiments.
Read More: 12 Things Joshua Oppenheimer Wants You to Know About 'The Look of Silence'
5. "Anomalisa"
In "Anomalisa," a delicately melancholic observation on loneliness and the flawed human condition, acclaimed writer-director Charlie Kaufman and co-director Duke Johnson use stop-motion animation to tell a story of small proportions and big ideas. These existential observations include our fears, failures, insecurities and our desperate need to be loved by someone who can look pass our conspicuous scars.
Read More: Human at the Seams: Charlie Kaufman and Duke Johnson Make Yearning Tangible in 'Anomalisa'
4. "The Tribe"
“The Tribe,” by Ukrainian debutant Miroslav Slaboshpitsky, is a film that communicates with its audience in a non-verbal manner. There are no subtitles or any other way to know exactly what the characters on screen are saying, but that’s never an issue for it to powerfully make its message heard. It’s the purest form of cinema because it can be shown anywhere in the world without modification, and the devastating result would be the same.
Read More: Interviewing Yana Novikova, Star of 'The Tribe,' Was a One-of-a-Kind Experience
3. "Boy and the World"
Alê Abreu’s “Boy and the World” is unequivocally the best animated film of the year. Drawn with the finest ends of an artist's heartstrings and painted with the colorful essence of undefeatable hope, Abreu’s utterly lyrical, visually captivating, musically driven, and extraordinarily sophisticated treasure is the animated equivalent of a childhood dream that thrives on sweet innocence and the pure ability to see the world truthfully for its dazzling beauty and its man-made dangers. As it continues to spellbind the globe with its unconventional artistry and thought-provoking observations, an Oscar nomination would be a more than deserved crown jewel.
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
2. "Carol"
Exquisitely photographed and fueled by the two best performances of the year, Todd Haynes “Carol” depicts an ethereal and ravishing romance that’s sure to take your breath away. Rooney Mara and Cate Blanchett play two women from opposite worlds that meet serendipitously and fall madly in love for each other in a time yet unwilling to accept them. Carol (Blanchett) is a wealthy mother and wife whose desires are used against her threatening to stripped her of what she loves the most. On the other hand Therese (Mara) is a working class girl discovering herself and who finds the strength to follow her true instincts in Carol. Heartbreak has rarely been portrayed with such a delicate touch, thoughtfulness, and sincerity. Beneath the glossy Christmas-tinted frames is a story as universal as it is particular in which a single pleading look disarms you. Few films will make you feel such tangible and pure yearning to connect with another soul as Haynes masterwork does.
1. "Son of Saul"
First-time director László Nemes decided to look at the terrifying apparatus behind the Holocaust from the perspective of the Sonderkommando, a group of men whose experience was exponentially more harrowing than that of the average victim. Nemes focuses on a particular man, Saul (Géza Röhrig), a fictional character created from the limited information available on this special group and the filmmaker’s artistic sensibilities.“Son of Saul” is not only the best film of the year, but also the most ambitious debut in ages. Both conceptually and visually, the dynamic, yet organically contemplative vision of one man’s ordeal as he walks through the gates the hell is the work of a master auteur.
Read More: 12 Things Director László Nemes and Star Géza Röhrig Want You to Know About 'Son of Saul'...
- 12/31/2015
- by Carlos Aguilar
- Sydney's Buzz
A total of 16 films were submitted for consideration in the Best Animated Feature category at the 88th Oscars. After being absent from the race last year, powerhouse Pixar returns with two films, “Inside Out” and "The Good Dinosaur," of which the former is the clear front-runner. Stop-motion animation is represented by two contenders, Charlie Kaufman and Duke Johnson’s critical hit “Anomalisa” and the equally celebrated, though less contemplative, “Shaun the Sheep Movie” from Oscar-winning Aardman. Of the other major studios the only serious film in competition is Blue Sky’s “The Peanuts Movie.” CG animated films such as “Minions,” “Home,” “Hotel Transylvania 2,” "The SpongeBob Movie: Sponge Out of Water," performed well at the box-office but will likely fail to break in.
Thankfully the Academy has been very good at noticing, while not yet awarding, the work of independent artists working in the animation medium. Since 2010, when Gkids garnered its first nomination for Tomm Moore’s gorgeous “The Secret of Kells,” the New York-based distributor‘s films have been present among the five nominees every year. Last year two masterworks from their impeccable repertoire were included, Moore’s “Song of the Sea” and Isao Takahata’s “The Tale of the Princess Kaguya,” leaving out Warner’s “The Lego Movie,” which was considered a lock for most of the season. This year Gkids has three films vying for recognition, all of which received Annie nominations in the Best Independent Animated Feature category, but there also a few other internationally produced, independently made, traditionally animated works on the list that deserve the attention.
There is no doubt that some of the most unconventional and stunning animated films come from outside the mechanized mainstream, and we hope this year, once again, some of them make it to the Dolby Theater so that such exposure helps them reach a larger global audience.
Note: The only 2D-animated feature not included here is “Regular Show: The Movie,” which, despite having a limited release as most independent films, is an American production by a major studio
"The Boy and the Beast"
Dir.Mamoru Hosoda
Having worked in some of the most beloved anime series of all time before transitioning into greater artistic heights with singular animated features such as “The Girl Who Leapt Through Time,” “Summer Wars,” and “Wolf Children,” Mamoru Hosoda is one of the most important figures in Japanese animation today and his work has a loyal following around the world. “The Boy and the Beast,” his most recent film, is a martial arts saga ruled by its very own mythology, yet grounded on universal thematic elements. Following his mother’s death, Ren runs away from home and accidentally finds his way into Jutengai, an alternate reality inhabited by beasts. Reluctantly, young Ren is taken in by Kumatetsu, a bear-like brute desperate to train a disciple in order to be selected as the realm’s new leader. Despite countless arguments and numerous rough patches, a profound bond that transcends the divide between their worlds forms between the two lonely fighters. Fantastical creatures, epic battles, and amusing banter, spice up an endearing story that analyzes parent-children relationship from a highly inventive vantage point.
"Boy and the World"
Dir. Alê Abreu
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Color pencils, pastels, watercolors, cut outs, and multiple other techniques are blended with an eclectic soundtrack molding a fascinating and gorgeous cinematic experience. Abreu’s animated masterpiece should certainly become the first Latin American animated feature to be nominated in the category (while “Chico and Rita” is set in Cuba, it's actually a European production helmed by Spanish filmmakers), as it would be an unforgivable mistake if the Academy fails to acknowledge dazzlingly craftsmanship on display.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
"Kahlil Gibran's The Prophet"
Dir. Roger Allers
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Realizing her long-awaited passion project, Mexican-born star Salma Hayek produced this mesmerizing reimagining of Lebanese poet Kahil Gibran’s timeless classic with the help of some of the most important names currently working in the medium. Hayek, who also voices one of the lead characters, recruited Roger Allers, the man behind Disney’s “The Lion King,” to craft a linear canvas upon which eight artists could weave in their visual interpretations of Gibran’s poems on specific subjects. Acclaimed animators such as Tomm Moore, Bill Plympton, Nina Paley, and Joan C. Gratz , had complete freedom, both regarding technique and storytelling, to create these breathtaking and distinct segments. Aller’s frame narrative follows Mustafa (voiced by Liam Neeson ), a wise poet, as he is being escorted out of town by the repressive Ottoman authorities that consider his writings and paintings as subversive materials that threaten their tyrannical grip. While each individual vignette offers a lyrical rendition of Gibran’s universal lessons, Moore’s “On Love” is an awe-inspiring standout. “Hypnosis,” the tune written and performed by Damien Rice, is also in contention for the Best Original Song Academy Award.
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
"The Laws of the Universe - Part 0"
Dir. Isamu Imakake
Eleven Arts, a small distributor dedicated to bringing Asian cinema stateside, has entered the Best Animated Feature race with an action-packed contender that will appeal to anime fans fond of intricate plots. Directed by Isamu Imakake, this Japanese sci-fi film centers on five high school friends who are forced to become heroes when they discover an alien conspiracy that endangers the Earth and life as we know it. Teen drama collides with intergalactic standoffs in an exciting and large-scale adventure. It’s luminously stylized character design and the epically orchestrated action sequences elevate the film beyond the conventions and aesthetics associated with anime series produced for TV. Imakake’s previous efforts, "The Mystical Laws” and “The Laws of Eternity," also dealt with adult-oriented and otherworldly duels between powerful evildoers and courageous youths.
"Moomins on the Riviera"
Dir. Xavier Picard
Read More: Review: In 'Moomins on the Riviera' the Beloved Finnish Icons Remain Timeless and Wise
Created in the 1940s by author and illustrator Tove Jansson, these Finnish superstars have an incredibly devout following across Europe and Asia, and though they are still not household names this side of the Atlantic, their humble wisdom cuts across geographical boundaries with ease once one gives in to their charm. In their first big screen appearance in over a decade, the Moomins decide to leave the comfort of rural life in the valley for the extravagant pleasure of the Côte d'Azur. Soon after their arrival, the roundish and unpretentious family realizes that opulence and material wealth are far from what they consider happiness. Elegantly drawn to resemble a nostalgic storybook and drenched in pastel hues, Xavier Picards take on the beloved characters is sure to add new fans to the Moomin legion and to satisfy those that throughout the decades have been enchanted by their innocent humor and surprisingly philosophical observations on the things that really matters.
"When Marnie Was There"
Dir. Hiromasa Yonebayashi
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Following Miyazaki’s “The Wind Rises” and Takahata’s “The Tale of the Princess Kaguya,” another Ghibli gem (and as of now their final one) of much more intimate qualities was released to eager U.S. audiences this spring. Hiromasa Yonebayashi's adaption of Joan G. Robinson’s 1967 switches England for a Hokkaido but preserves the moving bond between the protagonist and what seems to be a vision from another time intact. Introvert Anna (voiced by Hailee Steinfeld in the English-language dub) is a young girl that struggles to connect with her foster mother, thus feels alienated. When Anna meets Marnie, a gracious blond girl, while exploring the marshes that surround the town, a secret friendship quickly develops. As their individual histories are slowly revealed through expertly paced twists, it becomes apparent that their initial encounter was not merely serendipitous. Magical realism, instead of more fantastic elements as in most of Ghibli’s films, dictates the narrative, while the artistry that is expected from the legendary studio is as captivating as usual and never disappoints. The way Yonebayashi channels the original material to create a delicate coming-of-age story that accepts its characters flaws and troubling emotional journeys without simplifying them is truly remarkable. Priscilla Ahn’s heartbreaking ballad “Fine on the Outside” is also in the running for the Best Original Song Oscar.
Thankfully the Academy has been very good at noticing, while not yet awarding, the work of independent artists working in the animation medium. Since 2010, when Gkids garnered its first nomination for Tomm Moore’s gorgeous “The Secret of Kells,” the New York-based distributor‘s films have been present among the five nominees every year. Last year two masterworks from their impeccable repertoire were included, Moore’s “Song of the Sea” and Isao Takahata’s “The Tale of the Princess Kaguya,” leaving out Warner’s “The Lego Movie,” which was considered a lock for most of the season. This year Gkids has three films vying for recognition, all of which received Annie nominations in the Best Independent Animated Feature category, but there also a few other internationally produced, independently made, traditionally animated works on the list that deserve the attention.
There is no doubt that some of the most unconventional and stunning animated films come from outside the mechanized mainstream, and we hope this year, once again, some of them make it to the Dolby Theater so that such exposure helps them reach a larger global audience.
Note: The only 2D-animated feature not included here is “Regular Show: The Movie,” which, despite having a limited release as most independent films, is an American production by a major studio
"The Boy and the Beast"
Dir.Mamoru Hosoda
Having worked in some of the most beloved anime series of all time before transitioning into greater artistic heights with singular animated features such as “The Girl Who Leapt Through Time,” “Summer Wars,” and “Wolf Children,” Mamoru Hosoda is one of the most important figures in Japanese animation today and his work has a loyal following around the world. “The Boy and the Beast,” his most recent film, is a martial arts saga ruled by its very own mythology, yet grounded on universal thematic elements. Following his mother’s death, Ren runs away from home and accidentally finds his way into Jutengai, an alternate reality inhabited by beasts. Reluctantly, young Ren is taken in by Kumatetsu, a bear-like brute desperate to train a disciple in order to be selected as the realm’s new leader. Despite countless arguments and numerous rough patches, a profound bond that transcends the divide between their worlds forms between the two lonely fighters. Fantastical creatures, epic battles, and amusing banter, spice up an endearing story that analyzes parent-children relationship from a highly inventive vantage point.
"Boy and the World"
Dir. Alê Abreu
Read More:Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Color pencils, pastels, watercolors, cut outs, and multiple other techniques are blended with an eclectic soundtrack molding a fascinating and gorgeous cinematic experience. Abreu’s animated masterpiece should certainly become the first Latin American animated feature to be nominated in the category (while “Chico and Rita” is set in Cuba, it's actually a European production helmed by Spanish filmmakers), as it would be an unforgivable mistake if the Academy fails to acknowledge dazzlingly craftsmanship on display.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
"Kahlil Gibran's The Prophet"
Dir. Roger Allers
Read More: Why 'Kahlil Gibran's The Prophet' is a Cinematic Out-Of-Body Experience Brimming with Animated Wisdom
Realizing her long-awaited passion project, Mexican-born star Salma Hayek produced this mesmerizing reimagining of Lebanese poet Kahil Gibran’s timeless classic with the help of some of the most important names currently working in the medium. Hayek, who also voices one of the lead characters, recruited Roger Allers, the man behind Disney’s “The Lion King,” to craft a linear canvas upon which eight artists could weave in their visual interpretations of Gibran’s poems on specific subjects. Acclaimed animators such as Tomm Moore, Bill Plympton, Nina Paley, and Joan C. Gratz , had complete freedom, both regarding technique and storytelling, to create these breathtaking and distinct segments. Aller’s frame narrative follows Mustafa (voiced by Liam Neeson ), a wise poet, as he is being escorted out of town by the repressive Ottoman authorities that consider his writings and paintings as subversive materials that threaten their tyrannical grip. While each individual vignette offers a lyrical rendition of Gibran’s universal lessons, Moore’s “On Love” is an awe-inspiring standout. “Hypnosis,” the tune written and performed by Damien Rice, is also in contention for the Best Original Song Academy Award.
Read More: Salma Hayek on 'Kahlil Gibran's The Prophet': 'His Poetry Talks About the Simple Things in Life That Unite Us All'
"The Laws of the Universe - Part 0"
Dir. Isamu Imakake
Eleven Arts, a small distributor dedicated to bringing Asian cinema stateside, has entered the Best Animated Feature race with an action-packed contender that will appeal to anime fans fond of intricate plots. Directed by Isamu Imakake, this Japanese sci-fi film centers on five high school friends who are forced to become heroes when they discover an alien conspiracy that endangers the Earth and life as we know it. Teen drama collides with intergalactic standoffs in an exciting and large-scale adventure. It’s luminously stylized character design and the epically orchestrated action sequences elevate the film beyond the conventions and aesthetics associated with anime series produced for TV. Imakake’s previous efforts, "The Mystical Laws” and “The Laws of Eternity," also dealt with adult-oriented and otherworldly duels between powerful evildoers and courageous youths.
"Moomins on the Riviera"
Dir. Xavier Picard
Read More: Review: In 'Moomins on the Riviera' the Beloved Finnish Icons Remain Timeless and Wise
Created in the 1940s by author and illustrator Tove Jansson, these Finnish superstars have an incredibly devout following across Europe and Asia, and though they are still not household names this side of the Atlantic, their humble wisdom cuts across geographical boundaries with ease once one gives in to their charm. In their first big screen appearance in over a decade, the Moomins decide to leave the comfort of rural life in the valley for the extravagant pleasure of the Côte d'Azur. Soon after their arrival, the roundish and unpretentious family realizes that opulence and material wealth are far from what they consider happiness. Elegantly drawn to resemble a nostalgic storybook and drenched in pastel hues, Xavier Picards take on the beloved characters is sure to add new fans to the Moomin legion and to satisfy those that throughout the decades have been enchanted by their innocent humor and surprisingly philosophical observations on the things that really matters.
"When Marnie Was There"
Dir. Hiromasa Yonebayashi
Read More: Review: Wondrous 'When Marnie Was There' is One of Ghibli's Most Profoundly Moving Works
Following Miyazaki’s “The Wind Rises” and Takahata’s “The Tale of the Princess Kaguya,” another Ghibli gem (and as of now their final one) of much more intimate qualities was released to eager U.S. audiences this spring. Hiromasa Yonebayashi's adaption of Joan G. Robinson’s 1967 switches England for a Hokkaido but preserves the moving bond between the protagonist and what seems to be a vision from another time intact. Introvert Anna (voiced by Hailee Steinfeld in the English-language dub) is a young girl that struggles to connect with her foster mother, thus feels alienated. When Anna meets Marnie, a gracious blond girl, while exploring the marshes that surround the town, a secret friendship quickly develops. As their individual histories are slowly revealed through expertly paced twists, it becomes apparent that their initial encounter was not merely serendipitous. Magical realism, instead of more fantastic elements as in most of Ghibli’s films, dictates the narrative, while the artistry that is expected from the legendary studio is as captivating as usual and never disappoints. The way Yonebayashi channels the original material to create a delicate coming-of-age story that accepts its characters flaws and troubling emotional journeys without simplifying them is truly remarkable. Priscilla Ahn’s heartbreaking ballad “Fine on the Outside” is also in the running for the Best Original Song Oscar.
- 12/17/2015
- by Carlos Aguilar
- Sydney's Buzz
Tim here, to spread the Good News about the best animated feature of 2015. Though for everybody in the U.S. outside of New York and Los Angeles, it's not coming until 2016, and anyway it first premiered in 2013. The point being, this weekend marks the Oscar-qualifying release of Boy and the World, an astonishing, crazily inventive, unnervingly thoughtful fable from Brazil and the hands of director/animator Alê Abreu.
It's a wholly idiosyncratic vision of childhood and globalization, and a film with no clear target audience - there's nothing kid-unfriendly here, but I also can't imagine a kid understanding any of what's going on. Nevertheless the self-selecting population of adults willing to watch a cartoon that looks for all the world like a video for pre-schoolers is in for a rare treat.
more after the jump...
It's a wholly idiosyncratic vision of childhood and globalization, and a film with no clear target audience - there's nothing kid-unfriendly here, but I also can't imagine a kid understanding any of what's going on. Nevertheless the self-selecting population of adults willing to watch a cartoon that looks for all the world like a video for pre-schoolers is in for a rare treat.
more after the jump...
- 12/11/2015
- by Tim Brayton
- FilmExperience
Read More: 9 Essential Animated Indie Movies Every year, as Pixar, DreamWorks and Sony Pictures Animation are conquering the world with their animated blockbusters (from the likes of "Inside Out" to "Minions), the award-winning distributor Gkids quietly releases the boldest and most mature international animated movies, often pushing them into Oscar dark horse contention. In 2010, it was the dazzling fantasy film "The Secret of Kells" and the Spanish music romance "Chico & Rita," and titles such as "Ernest and Celestine," "Song of the Sea" and "The Tale of the Princess Kaguya" were released to similar acclaim in the years following. With just several weeks left in 2015, Gkids is about to do it again this year with an experimental and extraordinary animated film: "Boy and the World." The second feature film from Brazilian writer-director Alê Abreu, "Boy and the World" is a vibrant...
- 12/11/2015
- by Zack Sharf
- Indiewire
Boy and the World is the animated Playtime that you never knew you wanted. Like Jacques Tati’s masterpiece, Boy and the World is a plea for the world to reclaim its humanism away from the clutches of technology. In the case of this film, that request goes to apocalyptic levels as technology swallows up everything from the music that reminds the main character of his home to the vegetation that serves as his playground.
Alê Abreu‘s film has its own singular pulse from its first moment as kaleidoscopic imagery transports the viewer to a pastel odyssey of vegetation animals and our own version of Monsieur Hulot, a tireless boy made up of five red lines, shorts, eyes, dimples and of course three hairs.
The plot is minimal. After his father — drawn in a manner resembling a Dia de los Muertos figure — leaves on a mysteriously humanoid train from...
Alê Abreu‘s film has its own singular pulse from its first moment as kaleidoscopic imagery transports the viewer to a pastel odyssey of vegetation animals and our own version of Monsieur Hulot, a tireless boy made up of five red lines, shorts, eyes, dimples and of course three hairs.
The plot is minimal. After his father — drawn in a manner resembling a Dia de los Muertos figure — leaves on a mysteriously humanoid train from...
- 12/11/2015
- by Michael Snydel
- The Film Stage
How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
"Boy and the World" is on the Oscar shortlist for Best Animated Feature and it opens on December 11 in L.A. at Laemmle's North Hollywood and in NYC at IFC Center
Textured dreams laced with thoughtful observations on the modern human experience construct Alê Abreu’s stirring fantasia “Boy and the World,” a film so viscerally enchanting and dazzlingly beautiful that it enraptures you from the moment its subtle opening sequence appears on screen. A little boy leaves his home in the peaceful countryside to see the grandeur of urban civilization and find his beloved father, but as this musical odyssey exposes him to both unimaginable desolation and mesmerizing beauty, he finds comfort in endearing memories and future hopes.
This Brazilian animated feature showcases handcraft in a uniquely imaginative manner that resembles the simple magic that could come from a child’s imagination. Colorful backgrounds with eclectic aesthetics and an adorable protagonist serve as the vehicle for Abreu to discuss complex subjects like consumerism, oppression, discrimination, and poverty. It’s all as clever as it’s charming, and it's by far the best and most sophisticated animated film to hit cinemas stateside this year.
Chatting with Abreu is as delightful as watching the film itself. His ever-present fervor for the animation medium and its yet unexplored possibilities is contagious. While he is fully aware of the uphill battle that a film like his faces in a cinematic landscape saturated by commercially-friendly product often devoid of any meaningful artistry. Yet, Abreu remains enthusiastically focused on the boundless creative freedom that working outside the preset productions models allows him.
A film like “Boy and the World” could only come from the intersection between meticulous handcraft and sheer kindness. Alê Abreu will tell you that his film came from a personal place to express his passion to explore what it means to be a human being. I believe him, because every brush stroke, pencil drawing, and colorful design shines with a glossy coat of loving warmth.
Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
Carlos Aguilar: This is your second feature film and it's stylistically very different from what you've done previously. The designs and lyrical quality of the animation is remarkable and it brilliantly evokes innocence and wonder. Where did the concept for "Boy and the World" and its adorable protagonist come from?
Alê Abreu: I have the feeling that I didn’t make it by myself, but that I was conducted by feelings that were completely different from those in my previous work. When I start making a film I don’t know what I’m doing. I made this film without knowing what I was doing. I simply found the character in a sketchbook. I had drawn it some time before. There were many drawings from the research I did for the film “Canto Latino,” the animadoc or animated documentary about Latin America. I did a lot research about protest music from the 60s and 70s, and I think that’s what guided me to the story of this boy. One day I discovered the figure of this boy in those research notebooks. I felt like this boy was calling me to follow him into this world and to discover his story. I was very happy to hear the little boy’s voice. He was really the director of the film.
Making a film from the point of view of a young boy’s eyes opened the door to another universe with lots of freedom and to explore a new dimension. This was achieved as I started doing things that were close to what exists in a child’s universe. I built the film this way. I gathered all the tools I usually use such as brushes, color pencils, crayons, watercolors, and everything else I found in my studio, and I put them on top of a table. I had this feeling of freedom and possibility like if I was this boy. I was using the boy’s freedom to create this film.
CA: In a sense you created a film from this boy's perspective and how he would tell this story.
Alê Abreu: I tried to exploit such freedom to create those drawings like if I was a boy. I tried to draw with that freedom and that love that I remember from being a child and spending a day drawing without worrying about whether what I’m drawing is real or strange. I’m being sincere and I’m being human. I’m making mistakes or I’m doing things correctly, but I’m being human regardless. I’m talking about my pain and my joy, and I’m not saying it with words but mainly with colors and shapes. That’s what I tried to do with the utmost sincerity and humility of a child.
CA: For an independent production like this, how difficult was it to achieve the desired look and how big was your team of collaborators during this process?
Alê Abreu: Our team was very small during these three years of work. There were about 15 people helping me, but I produced all the animations and backgrounds myself. We had to discover our own production process. From what type of software could help us make a movie faster to everything else regarding the textures. Some might think, ”It’s probably very easy to make a film with those textures,” but it’s much more difficult than what it appears to be. We had to discover a faster process because otherwise it could have taken us 10 years to make it.
CA: This is definitely a work of love. Is the film entirely hand-drawn or how how big was the role of modern technology in its production?
Alê Abreu: A little bit more than 50% of what you see on screen is handcrafted and the other 50% was about emulating these textures on the computer. However, for us, when we were making it, we had to believe it was all handcrafted. I always told my team, “You have to believe that you are not in front of a computer, but that your canvas is a piece of paper. You have to believe this even if you have a computer in front of you.”
CA: Tell me about selecting the diverse musical pieces that score the film. There are multiple genres from rap to samba, but they all seamlessly connect with the images.
Alê Abreu: That was a very natural process because as I was creating the animatic I added music clips as reference of the kind of music I wanted in the film. These were from musicians like Naná Vasconcelos and Barbatuques, the body percussion group. Nana Vasconcelos was called because his music speaks to the point of view of the older man in the film. The rapper Emicida came on board at the end of the entire process when we started thinking about what we could play as the final credits rolled. We thought that using rap would draw a parallel with the protest music from the 60s and 70s that we found through the research for animadoc. When we thought about rap, Emicida immediately came to mind and we decided to call him to create this song bring the audience back to earth and put their feet on the ground. Emicida’s song is the only one that has lyrics in actual understandable Portuguese.
CA: Do you believe that you were thinking musically while making the film? It clearly feels as if music becomes a unique and alive element in the film.
Alê Abreu: Is as if the music is another character or as if it was a part of this great opera. I also through about this project as a structure or as a sculpture made out of colors, rhythm, characters, and brush strokes, but with every single one of these always supporting one another. If I have a blank piece of paper and I draw a red figure, immediately this brings sounds and shapes to my mind. I tried to make a film in which every component supports the others while giving each other space and stimulating the creation of what’s yet to come.
CA: One song in particular stands out, “Airgela,” which we hear throughout the film in very distinct version. This song connects the boy with the his father, with his memories, and with the world beyond his hometown.
Alê Abreu: “Airgela” is “Alegria” backwards and “Alegria” means “Joy” or “Happiness.” This is a fundamental word in this film. It’s very important. Symbolically “Alegria” is crucial word in the creation of this project. Although it wasn’t present from the beginning, as we were working on the music it became symbolic.
CA: Why did it become symbolic?
Alê Abreu: Because I feel that joy is the basic emotion of life and of human beings. It’s what supports everything. We are here to be happy. We are to enjoy “alegria.”
CA: We are born happy and full of joy, sadness and all other emotions come after.
Alê Abreu: Absolutely. “Alegria” is the first word in that song, but then there are seven other words. The first one is “Alegria” and the last one is “Voz” or “Voice.” You start with “Alegria,“ then “Libertad,” or "Freedom" and then other words until you have a “Voice.” You depart from joy until you get a voice. These seven words were carefully selected for the song, which was written by Gustavo Kurlat, one of the film's composers.
CA: The dialogue we hear in the film is a language you created by assembling sentences using Portuguese words written backwards. This also applies to any billboards or signs in the film. Why was the lack of understandable spoken and written language important to you? Even without a single word you manage to express very complex ideas about the world and how it works.
Alê Abreu: The entire time I was following the feelings experienced by children, so the feeling of not understanding what adults say was very important to put the audience in this frequency to understand the world through his eyes. We discovered this halfway through the process. When we started making the film there were some lines of dialogue in Portuguese, but we then changed our minds. The film started from very specific issues in the world, in particular Latin America, but halfway through the journey we felt the necessity to have more universal ideas that were not so specific. They didn’t need to be specifically South American or Latin American. Instead we discovered we were talking about human beings in general. We realized that these are not issues only pertinent to Latin America: poverty, misery, consumerism, etc.
The world’s geography is not realistic. Geography is not real. Borders are only closed to people but they are open to products. There is another type of geography outside of this matrix. Because of this we noticed we were talking about much more than just Latin America. That was very important to put the film on another level. Based on this idea, we knew that we were not in this world any longer. We were in another planet and we were reaching for something closer to a fable. It was something fabulous. I started looking at the film as if it happened in another planet and that allowed me even more freedom.
Looking through a child’s eyes and knowing this was another planet, we decided to design the machines with eyes and bodies like animals, we also decided that this planet has two moons, and we decided that anything else we wanted to do was allowed. It was a new perspective to make the film. That’s when I thought, “I don’t need these few dialogue lines in Portuguese. What are we going to do? We are going to create a language in which the words are pronounced backwards and we are going to put subtitles on the screen.” Then we realized it wasn’t necessary to put them. There is no reason to understand what they are saying. Each person can understand it however they like.
CA: There were no limitations
Alê Abreu: No. We were breaking away from anything that linked us to this world, but by doing that those ideas remained even stronger. Fables represent the basis for what I wanted to say about human beings.
CA: This idea of machines replacing the human touch in almost all endeavors also speaks to the way animation is being produced today. Digitally made films with very specific financial purposes have taken over market leaving little room for handcrafted works.
Alê Abreu: On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn’t a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt. It’s a film made in a very radical creative manner. It was possible because we didn’t have to pander to capitalism. I think the film is also a humanistic cry for help for animation. It’s a film with sensitivities completely opposite to what the market wants to sell.
CA: Since those films are designed for mass appeal they take very few risks regarding the ideas or issues they deal with. It's hard to imagine a studio animated feature tackling the social justice concerns "Boy and the World" touches on.
Alê Abreu: The film gave me the possibility to create a new language. Animation is a very rich medium but hasn’t fully been exploited by artists. Often artists are trapped by words. Films are born from screenplays and they are guided by words. They are born very limited and there is no space for real creation: graphic creation, pictorial creation, or audiovisual creation. If we really want to use the art of animation with all its strength, we have to rethink the processes by which it’s made because the medium is the message. The way a film is made tells you about its message. The processes are the same as the products. We made the film starting from processes that allowed us to find these complex ideas. Director and producers have to take all the risks they can. We developed this film with the possibility to create departing from a blank page and to discover things as the process went along and as we understood the things that at first we couldn’t understand in words.
CA: Would you say that everything, even challenging political concepts, can be expressed truly visually without the need for words?
Alê Abreu: I think so, but each film has its processes. It doesn’t mean that all animated films have to be like “Boy and the World,” but creators have to have total freedom. There are films that are born with the purpose to sell. They are still admirable films with great artists and great visuals, but we wanted to use a more radical approach to create art. That’s what we tried to do.
CA: "Boy and the World" deals with our childhood memories and what we learn as we grow older and face the powers that rule our lives. Did you ever consider what elements of the film would appeal to younger viewers and which ideas would be better understood by adults? Sadly, we tend to underestimate how sophisticated young audiences can be.
Alê Abreu: During the entire process of making this film I never thought about whom I was making it for. I always thought that the film was for me, but I didn’t think of any of that. I just did what I thought I had to do. I didn’t think, “This is what children are going to think” or “This is what adults will understand.” At the end of the process we called a market research company to find out whom the film was for or what was the target audience. We didn’t have a lot of money to release the film, so in order for it to play in cinemas, which are dominated by films with much larger marketing budgets, we had to discover whom the film was for.
We hired this company and we rented a theater in a multiplex for 200 people. The first time the film was screened I was hidden, but part of my team was in the audience. There were a lot of kids and I was very nervous, but on this day I discovered the film spoke to everyone. After the screening there was a Q&A. There were people asking questions and we had a sort of debate. An adult said that he hadn’t understood the relationship between the three characters and a child raised his hand to explain it to him. At that moment I understood it wasn’t a film for children or for adults, but for everyone. It’s a very universal film.
Following this screening there was only one thing I changed because at the end of the film I felt a profound sadness. In there first version, where we now have a colorful village with a new musical bird emerging and this small band of children, there was instead a sequence were garbage from the city engulfed the boy’s house and his tree and there was a shot of all the things inside the house destroyed. It was very heavy. It didn’t have a glimpse of hope. I understood that the film was a beautiful piece of music but at that point it ended in a low note. I had to bring that final note higher.
We went back to the studio and I didn’t sleep for two or three nights until my assistant director told me to think about the small children band, which represents the new generation, but he suggested adding it during the credits. It was too much jumping around. We then experimented with other possibilities. We added the band, we eliminated the garbage, and we added this new village developing. When we saw it was like a completely nee film. At that moment I had the feeling that the film was finally done.
CA: Music takes on physical form in the film. Each note becomes a colorful floating sphere that belongs to a greater whole - the bird. How did this peculiar and poignant storytelling device originate?
Alê Abreu: I’m not sure. In one of those sketchbooks I used while doing the research for “Canto Latino,” there was a drawing of this boy with these colorful spheres around him that I had drawn, but at that point I didn’t know what they meant. My job was like that of a detective looking to make sense out things that I had felt and drawn before. The drawing precedes the explanation. The film was born out of sensations transformed into graphic images and then I tried to make poetic sense of them. For example if you give me three words I’ll try to make a poem with only those three words. You can write any words, but the meaning you are going to give these words comes from what you are feeling. The creative process happened that way.
I draw things on the paper very freely but believing there is meaning to them already. There is already meaning in the colors, I don’t need to be guided by words. I draw them and the meaning comes after. Every time we would start a new sequence we would change everything. We had 40 sequences in the film and for me a sequence in a film is like a phrase in a poem. We were trying to understand what each sequence meant in two or three words. We had a film with 40 lines, some stanzas, and some words.
CA: There is a moment in the film where the animated realm gives in to the destruction taking place in the real world. Fire comes in an we are taken into live-action footage that shows our voracity against nature. Why did you feel it was necessary to include this powerful clip?
Alê Abreu: It’s very interesting because that has to do with the language that I mentioned. The film started with a blank page where we created a young boy with a simple pencil drawing and then the world opens itself up for the boy and at the same time we add the pastels, inks, watercolors, and many other elements. As the boy goes from the city and what’s more mundane back home, we started cutting newspapers and made a collage to create the mundane and artificial aspect that mankind had given to nature.
We put all these things on top the blank page, which represents where we come from and where are going. The film starts on a blank page and ends on a blank page. That blank space is the most abstract thing. When we are born the memories we have are from an abstract space. I think we don’t die, but we instead travel to an abstract space like a blank page.
I wanted to translate that anguish of this oppressive situation in an audiovisual way. We tried to do it with collages but it wasn’t enough. Since we continued to work as animators and as artist with the freedom of adding things we first thought collages could work, but we couldn’t do that there, so we decided to completely rip this dream apart and added the live-action. We had to break away from animation. Poetically speaking, if you eliminate the animation you eliminate dreams. Adding the live-action sequence was as if we had destroyed the fable to not dream anymore. There are not dreams, no animation, no characters, but only the sad truth of what we are living now.
CA: This sequence is a heart-wrenching call for action. It urges us to open our eyes and react
Alê Abreu: I tried to translate that into this language and in this audiovisual poem with all the mixture of elements. In the midst of this mixture of techniques what would symbolize breaking away from the dream was to cut the animation completely because animation is the glue that gives you all the freedom.
CA: Tell me about the reaction to the film in Brazil. "Boy and the World" has received international acclaim, it's won numerous awards, and has screened at countless festivals, but was the reception at home as great given that you had to compete with animated offers from abroad?
Alê Abreu: It wasn’t great. The critical reception was really good, but we didn’t find a commercial space to screen the film, only in art house cinemas. We opened in 35 theaters in the entire country and we had 35,000 attendees. However, in France we opened on 90 screens for 7 months and we had over 120,000 attendees. In France “Boy and the World” was one of the tree best reviewed films by critics that year. It was very special. For local films in countries like Brazil or Mexico establishing commercial relationships is not easy. It’s very difficult for independent local films, for our films. It’s like having a supermarket where there is no room on the shelves or the marquee for your product. The market is completely taken. It’s an economic issue, but above all it’s political. For me it’s very simple, there is no space on the marquee for our films. People go to the supermarket not knowing what they want. They go and see what’s there. The company offering the products is more important. If the films were there people would see them. If you have a product and there is space on the shelves for it, there is a chance people will buy it. Right now there are no spaces for our films in our countries.
"Boy and the World" opens on December 11 in L.A. at Laemmle's North Hollywood and in NYC at IFC Center...
Textured dreams laced with thoughtful observations on the modern human experience construct Alê Abreu’s stirring fantasia “Boy and the World,” a film so viscerally enchanting and dazzlingly beautiful that it enraptures you from the moment its subtle opening sequence appears on screen. A little boy leaves his home in the peaceful countryside to see the grandeur of urban civilization and find his beloved father, but as this musical odyssey exposes him to both unimaginable desolation and mesmerizing beauty, he finds comfort in endearing memories and future hopes.
This Brazilian animated feature showcases handcraft in a uniquely imaginative manner that resembles the simple magic that could come from a child’s imagination. Colorful backgrounds with eclectic aesthetics and an adorable protagonist serve as the vehicle for Abreu to discuss complex subjects like consumerism, oppression, discrimination, and poverty. It’s all as clever as it’s charming, and it's by far the best and most sophisticated animated film to hit cinemas stateside this year.
Chatting with Abreu is as delightful as watching the film itself. His ever-present fervor for the animation medium and its yet unexplored possibilities is contagious. While he is fully aware of the uphill battle that a film like his faces in a cinematic landscape saturated by commercially-friendly product often devoid of any meaningful artistry. Yet, Abreu remains enthusiastically focused on the boundless creative freedom that working outside the preset productions models allows him.
A film like “Boy and the World” could only come from the intersection between meticulous handcraft and sheer kindness. Alê Abreu will tell you that his film came from a personal place to express his passion to explore what it means to be a human being. I believe him, because every brush stroke, pencil drawing, and colorful design shines with a glossy coat of loving warmth.
Review: Why Alê Abreu's Sublime 'Boy and the World' is the Best Animated Film of the Year
Carlos Aguilar: This is your second feature film and it's stylistically very different from what you've done previously. The designs and lyrical quality of the animation is remarkable and it brilliantly evokes innocence and wonder. Where did the concept for "Boy and the World" and its adorable protagonist come from?
Alê Abreu: I have the feeling that I didn’t make it by myself, but that I was conducted by feelings that were completely different from those in my previous work. When I start making a film I don’t know what I’m doing. I made this film without knowing what I was doing. I simply found the character in a sketchbook. I had drawn it some time before. There were many drawings from the research I did for the film “Canto Latino,” the animadoc or animated documentary about Latin America. I did a lot research about protest music from the 60s and 70s, and I think that’s what guided me to the story of this boy. One day I discovered the figure of this boy in those research notebooks. I felt like this boy was calling me to follow him into this world and to discover his story. I was very happy to hear the little boy’s voice. He was really the director of the film.
Making a film from the point of view of a young boy’s eyes opened the door to another universe with lots of freedom and to explore a new dimension. This was achieved as I started doing things that were close to what exists in a child’s universe. I built the film this way. I gathered all the tools I usually use such as brushes, color pencils, crayons, watercolors, and everything else I found in my studio, and I put them on top of a table. I had this feeling of freedom and possibility like if I was this boy. I was using the boy’s freedom to create this film.
CA: In a sense you created a film from this boy's perspective and how he would tell this story.
Alê Abreu: I tried to exploit such freedom to create those drawings like if I was a boy. I tried to draw with that freedom and that love that I remember from being a child and spending a day drawing without worrying about whether what I’m drawing is real or strange. I’m being sincere and I’m being human. I’m making mistakes or I’m doing things correctly, but I’m being human regardless. I’m talking about my pain and my joy, and I’m not saying it with words but mainly with colors and shapes. That’s what I tried to do with the utmost sincerity and humility of a child.
CA: For an independent production like this, how difficult was it to achieve the desired look and how big was your team of collaborators during this process?
Alê Abreu: Our team was very small during these three years of work. There were about 15 people helping me, but I produced all the animations and backgrounds myself. We had to discover our own production process. From what type of software could help us make a movie faster to everything else regarding the textures. Some might think, ”It’s probably very easy to make a film with those textures,” but it’s much more difficult than what it appears to be. We had to discover a faster process because otherwise it could have taken us 10 years to make it.
CA: This is definitely a work of love. Is the film entirely hand-drawn or how how big was the role of modern technology in its production?
Alê Abreu: A little bit more than 50% of what you see on screen is handcrafted and the other 50% was about emulating these textures on the computer. However, for us, when we were making it, we had to believe it was all handcrafted. I always told my team, “You have to believe that you are not in front of a computer, but that your canvas is a piece of paper. You have to believe this even if you have a computer in front of you.”
CA: Tell me about selecting the diverse musical pieces that score the film. There are multiple genres from rap to samba, but they all seamlessly connect with the images.
Alê Abreu: That was a very natural process because as I was creating the animatic I added music clips as reference of the kind of music I wanted in the film. These were from musicians like Naná Vasconcelos and Barbatuques, the body percussion group. Nana Vasconcelos was called because his music speaks to the point of view of the older man in the film. The rapper Emicida came on board at the end of the entire process when we started thinking about what we could play as the final credits rolled. We thought that using rap would draw a parallel with the protest music from the 60s and 70s that we found through the research for animadoc. When we thought about rap, Emicida immediately came to mind and we decided to call him to create this song bring the audience back to earth and put their feet on the ground. Emicida’s song is the only one that has lyrics in actual understandable Portuguese.
CA: Do you believe that you were thinking musically while making the film? It clearly feels as if music becomes a unique and alive element in the film.
Alê Abreu: Is as if the music is another character or as if it was a part of this great opera. I also through about this project as a structure or as a sculpture made out of colors, rhythm, characters, and brush strokes, but with every single one of these always supporting one another. If I have a blank piece of paper and I draw a red figure, immediately this brings sounds and shapes to my mind. I tried to make a film in which every component supports the others while giving each other space and stimulating the creation of what’s yet to come.
CA: One song in particular stands out, “Airgela,” which we hear throughout the film in very distinct version. This song connects the boy with the his father, with his memories, and with the world beyond his hometown.
Alê Abreu: “Airgela” is “Alegria” backwards and “Alegria” means “Joy” or “Happiness.” This is a fundamental word in this film. It’s very important. Symbolically “Alegria” is crucial word in the creation of this project. Although it wasn’t present from the beginning, as we were working on the music it became symbolic.
CA: Why did it become symbolic?
Alê Abreu: Because I feel that joy is the basic emotion of life and of human beings. It’s what supports everything. We are here to be happy. We are to enjoy “alegria.”
CA: We are born happy and full of joy, sadness and all other emotions come after.
Alê Abreu: Absolutely. “Alegria” is the first word in that song, but then there are seven other words. The first one is “Alegria” and the last one is “Voz” or “Voice.” You start with “Alegria,“ then “Libertad,” or "Freedom" and then other words until you have a “Voice.” You depart from joy until you get a voice. These seven words were carefully selected for the song, which was written by Gustavo Kurlat, one of the film's composers.
CA: The dialogue we hear in the film is a language you created by assembling sentences using Portuguese words written backwards. This also applies to any billboards or signs in the film. Why was the lack of understandable spoken and written language important to you? Even without a single word you manage to express very complex ideas about the world and how it works.
Alê Abreu: The entire time I was following the feelings experienced by children, so the feeling of not understanding what adults say was very important to put the audience in this frequency to understand the world through his eyes. We discovered this halfway through the process. When we started making the film there were some lines of dialogue in Portuguese, but we then changed our minds. The film started from very specific issues in the world, in particular Latin America, but halfway through the journey we felt the necessity to have more universal ideas that were not so specific. They didn’t need to be specifically South American or Latin American. Instead we discovered we were talking about human beings in general. We realized that these are not issues only pertinent to Latin America: poverty, misery, consumerism, etc.
The world’s geography is not realistic. Geography is not real. Borders are only closed to people but they are open to products. There is another type of geography outside of this matrix. Because of this we noticed we were talking about much more than just Latin America. That was very important to put the film on another level. Based on this idea, we knew that we were not in this world any longer. We were in another planet and we were reaching for something closer to a fable. It was something fabulous. I started looking at the film as if it happened in another planet and that allowed me even more freedom.
Looking through a child’s eyes and knowing this was another planet, we decided to design the machines with eyes and bodies like animals, we also decided that this planet has two moons, and we decided that anything else we wanted to do was allowed. It was a new perspective to make the film. That’s when I thought, “I don’t need these few dialogue lines in Portuguese. What are we going to do? We are going to create a language in which the words are pronounced backwards and we are going to put subtitles on the screen.” Then we realized it wasn’t necessary to put them. There is no reason to understand what they are saying. Each person can understand it however they like.
CA: There were no limitations
Alê Abreu: No. We were breaking away from anything that linked us to this world, but by doing that those ideas remained even stronger. Fables represent the basis for what I wanted to say about human beings.
CA: This idea of machines replacing the human touch in almost all endeavors also speaks to the way animation is being produced today. Digitally made films with very specific financial purposes have taken over market leaving little room for handcrafted works.
Alê Abreu: On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn’t a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt. It’s a film made in a very radical creative manner. It was possible because we didn’t have to pander to capitalism. I think the film is also a humanistic cry for help for animation. It’s a film with sensitivities completely opposite to what the market wants to sell.
CA: Since those films are designed for mass appeal they take very few risks regarding the ideas or issues they deal with. It's hard to imagine a studio animated feature tackling the social justice concerns "Boy and the World" touches on.
Alê Abreu: The film gave me the possibility to create a new language. Animation is a very rich medium but hasn’t fully been exploited by artists. Often artists are trapped by words. Films are born from screenplays and they are guided by words. They are born very limited and there is no space for real creation: graphic creation, pictorial creation, or audiovisual creation. If we really want to use the art of animation with all its strength, we have to rethink the processes by which it’s made because the medium is the message. The way a film is made tells you about its message. The processes are the same as the products. We made the film starting from processes that allowed us to find these complex ideas. Director and producers have to take all the risks they can. We developed this film with the possibility to create departing from a blank page and to discover things as the process went along and as we understood the things that at first we couldn’t understand in words.
CA: Would you say that everything, even challenging political concepts, can be expressed truly visually without the need for words?
Alê Abreu: I think so, but each film has its processes. It doesn’t mean that all animated films have to be like “Boy and the World,” but creators have to have total freedom. There are films that are born with the purpose to sell. They are still admirable films with great artists and great visuals, but we wanted to use a more radical approach to create art. That’s what we tried to do.
CA: "Boy and the World" deals with our childhood memories and what we learn as we grow older and face the powers that rule our lives. Did you ever consider what elements of the film would appeal to younger viewers and which ideas would be better understood by adults? Sadly, we tend to underestimate how sophisticated young audiences can be.
Alê Abreu: During the entire process of making this film I never thought about whom I was making it for. I always thought that the film was for me, but I didn’t think of any of that. I just did what I thought I had to do. I didn’t think, “This is what children are going to think” or “This is what adults will understand.” At the end of the process we called a market research company to find out whom the film was for or what was the target audience. We didn’t have a lot of money to release the film, so in order for it to play in cinemas, which are dominated by films with much larger marketing budgets, we had to discover whom the film was for.
We hired this company and we rented a theater in a multiplex for 200 people. The first time the film was screened I was hidden, but part of my team was in the audience. There were a lot of kids and I was very nervous, but on this day I discovered the film spoke to everyone. After the screening there was a Q&A. There were people asking questions and we had a sort of debate. An adult said that he hadn’t understood the relationship between the three characters and a child raised his hand to explain it to him. At that moment I understood it wasn’t a film for children or for adults, but for everyone. It’s a very universal film.
Following this screening there was only one thing I changed because at the end of the film I felt a profound sadness. In there first version, where we now have a colorful village with a new musical bird emerging and this small band of children, there was instead a sequence were garbage from the city engulfed the boy’s house and his tree and there was a shot of all the things inside the house destroyed. It was very heavy. It didn’t have a glimpse of hope. I understood that the film was a beautiful piece of music but at that point it ended in a low note. I had to bring that final note higher.
We went back to the studio and I didn’t sleep for two or three nights until my assistant director told me to think about the small children band, which represents the new generation, but he suggested adding it during the credits. It was too much jumping around. We then experimented with other possibilities. We added the band, we eliminated the garbage, and we added this new village developing. When we saw it was like a completely nee film. At that moment I had the feeling that the film was finally done.
CA: Music takes on physical form in the film. Each note becomes a colorful floating sphere that belongs to a greater whole - the bird. How did this peculiar and poignant storytelling device originate?
Alê Abreu: I’m not sure. In one of those sketchbooks I used while doing the research for “Canto Latino,” there was a drawing of this boy with these colorful spheres around him that I had drawn, but at that point I didn’t know what they meant. My job was like that of a detective looking to make sense out things that I had felt and drawn before. The drawing precedes the explanation. The film was born out of sensations transformed into graphic images and then I tried to make poetic sense of them. For example if you give me three words I’ll try to make a poem with only those three words. You can write any words, but the meaning you are going to give these words comes from what you are feeling. The creative process happened that way.
I draw things on the paper very freely but believing there is meaning to them already. There is already meaning in the colors, I don’t need to be guided by words. I draw them and the meaning comes after. Every time we would start a new sequence we would change everything. We had 40 sequences in the film and for me a sequence in a film is like a phrase in a poem. We were trying to understand what each sequence meant in two or three words. We had a film with 40 lines, some stanzas, and some words.
CA: There is a moment in the film where the animated realm gives in to the destruction taking place in the real world. Fire comes in an we are taken into live-action footage that shows our voracity against nature. Why did you feel it was necessary to include this powerful clip?
Alê Abreu: It’s very interesting because that has to do with the language that I mentioned. The film started with a blank page where we created a young boy with a simple pencil drawing and then the world opens itself up for the boy and at the same time we add the pastels, inks, watercolors, and many other elements. As the boy goes from the city and what’s more mundane back home, we started cutting newspapers and made a collage to create the mundane and artificial aspect that mankind had given to nature.
We put all these things on top the blank page, which represents where we come from and where are going. The film starts on a blank page and ends on a blank page. That blank space is the most abstract thing. When we are born the memories we have are from an abstract space. I think we don’t die, but we instead travel to an abstract space like a blank page.
I wanted to translate that anguish of this oppressive situation in an audiovisual way. We tried to do it with collages but it wasn’t enough. Since we continued to work as animators and as artist with the freedom of adding things we first thought collages could work, but we couldn’t do that there, so we decided to completely rip this dream apart and added the live-action. We had to break away from animation. Poetically speaking, if you eliminate the animation you eliminate dreams. Adding the live-action sequence was as if we had destroyed the fable to not dream anymore. There are not dreams, no animation, no characters, but only the sad truth of what we are living now.
CA: This sequence is a heart-wrenching call for action. It urges us to open our eyes and react
Alê Abreu: I tried to translate that into this language and in this audiovisual poem with all the mixture of elements. In the midst of this mixture of techniques what would symbolize breaking away from the dream was to cut the animation completely because animation is the glue that gives you all the freedom.
CA: Tell me about the reaction to the film in Brazil. "Boy and the World" has received international acclaim, it's won numerous awards, and has screened at countless festivals, but was the reception at home as great given that you had to compete with animated offers from abroad?
Alê Abreu: It wasn’t great. The critical reception was really good, but we didn’t find a commercial space to screen the film, only in art house cinemas. We opened in 35 theaters in the entire country and we had 35,000 attendees. However, in France we opened on 90 screens for 7 months and we had over 120,000 attendees. In France “Boy and the World” was one of the tree best reviewed films by critics that year. It was very special. For local films in countries like Brazil or Mexico establishing commercial relationships is not easy. It’s very difficult for independent local films, for our films. It’s like having a supermarket where there is no room on the shelves or the marquee for your product. The market is completely taken. It’s an economic issue, but above all it’s political. For me it’s very simple, there is no space on the marquee for our films. People go to the supermarket not knowing what they want. They go and see what’s there. The company offering the products is more important. If the films were there people would see them. If you have a product and there is space on the shelves for it, there is a chance people will buy it. Right now there are no spaces for our films in our countries.
"Boy and the World" opens on December 11 in L.A. at Laemmle's North Hollywood and in NYC at IFC Center...
- 12/10/2015
- by Carlos Aguilar
- Sydney's Buzz
Read More: Watch: 'Boy and the World' Trailer is an Explosion of Psychedelic Animation Animated distributor Gkids is gearing up for Friday's release of "Boy and the World" with an exhilarating new music video that showcases the film's eye-popping visual landscape. Directed by Alê Abreu, the movie has won over 40 festival awards. With a December release date, it also might be an Oscar dark horse worth keeping an eye on. The official synopsis reads: "Cuca’s cozy rural life is shattered when his father leaves for the city, prompting him to embark on a quest to reunite his family. The young boy’s journey unfolds like a tapestry, the animation taking on greater complexity as his small world expands. Entering civilization, industrial landscapes are inhabited by animal-machines, with barrios of decoupage streets and shop windows and flashing neon advertisements that illuminate the night. The story depicts a clash between village and city,...
- 12/9/2015
- by Zack Sharf
- Indiewire
The International Animated Film Society, Asifa-Hollywood, has announced the nominations for the 43rd Annual Annie Awards and "Inside Out" and "The Good Dinosaur," both Pixar movies, led the pack! "Inside Out" received fourteen nominations while "The Good Dinosaur" got nine.
My pick of the year for best animated feature is "Inside Out" but I love Charlie Kaufman's "Anomalisa" as well which picked five noms.
We'll find out the winners of the Annie Awards on February 6th!
Here is the full list of nominees in all categories of the 43rd Annie Awards:
Best Animated Feature
Anomalisa
Paramount Pictures
Inside Out
Pixar Animation Studios
Shaun the Sheep The Movie
Aardman Animations
The Good Dinosaur
Pixar Animation Studios
The Peanuts Movie
Blue Sky Studios, Twentieth Century Fox Animation
Best Animated Special Production
Elf: Buddy.s Musical Christmas
Warner Bros. Animation
He Named Me Malala
Parkes-MacDonald / Little Door
I Am A Witness
Moonbot...
My pick of the year for best animated feature is "Inside Out" but I love Charlie Kaufman's "Anomalisa" as well which picked five noms.
We'll find out the winners of the Annie Awards on February 6th!
Here is the full list of nominees in all categories of the 43rd Annie Awards:
Best Animated Feature
Anomalisa
Paramount Pictures
Inside Out
Pixar Animation Studios
Shaun the Sheep The Movie
Aardman Animations
The Good Dinosaur
Pixar Animation Studios
The Peanuts Movie
Blue Sky Studios, Twentieth Century Fox Animation
Best Animated Special Production
Elf: Buddy.s Musical Christmas
Warner Bros. Animation
He Named Me Malala
Parkes-MacDonald / Little Door
I Am A Witness
Moonbot...
- 12/2/2015
- by Manny
- Manny the Movie Guy
Handcrafted artworks bear the imprint of their creator’s imagination in a way that can’t be replicated mechanically in an attempt to automatize creativity. Like a source of imperfect magic, the human element injects lively authenticity into the process. Such quality can't be substituted by the artificiality of products assembled solely from the intangible numeric codes of advanced machinery. Nowhere in the cinematic landscape is this move away from unique individuality and into smooth homogeneity more concerning than in animation: a medium that has fallen prey to studio-friendly storytelling and uniformly rendered design patterns.
What might be unexpected for some is that the latest film to step away from those trends and that graciously shows audiences and industry experts why idiosyncratic, stylistically inventive, thematically complex, and non-franchise work is remarkably necessary, is an animated feature from Brazil, which was made outside of any profit-driven production parameters and proudly standing as the product of an independent auteur's perseverance.
Alê Abreu’s “Boy and the World” is unequivocally the best animated film of the year. Drawn with the finest ends of an artist's heartstrings and painted with the colorful essence of undefeatable hope, Abreu’s utterly lyrical, visually captivating, musically driven, and extraordinarily sophisticated treasure is the animated equivalent of a childhood dream that thrives on sweet innocence and the pure ability to see the world truthfully for its dazzling beauty and its man-made dangers. As it continues to spellbind the globe with its unconventional artistry and thought-provoking observations, an Oscar nomination would be a more than deserved crown jewel.
Opening with a kaleidoscopic vision, "Boy and the World" instantly sets in motion a dynamic introduction to Cuca, the boy, and his fascinating surroundings. From those very first frames it’s clear we are dealing with moving illustrations where the hand of the wizard makes its presence visible in the use of crayons, color pencils, cutouts, oil paint, and everything in between. The strokes, the lines, and the natural textures of each technique give us the sense that we are witnessing a marvelous coloring book come to life via unimaginably fluid choreography. It just doesn’t get any more palpable and real than that. The ways Abreu takes hand-drawn animation to new and unexplored heights only escalate in amazement as the plot thickens.
With a seemingly simple appearance, Cuca is a charming little character. His thin extremities, a striped shirt, and roughly sketched facial features that are heartwarmingly expressive, make for a perfectly unassuming protagonist to embark on a fantastic adventure with. Tirelessly receptive to wonder and possibility, Cuca lives in the countryside with his parents and not unlike most boys his age he enjoys climbing on tress and exploring nature. Yet, if there something Cuca loves more than anything else is to listen to his father play a joyous melody on the flute. This wondrous tune embodies cherished memories, and since in Cuca’s world music manifests itself physically as radiant floating spheres, the adorable hero decides to save one of these as his most valued possession.
But despite its tranquil pace and gorgeous sunsets, the pastoral lifestyle becomes increasingly difficult for Cuca’s father who is trying to support the family by farming the land. Pushed by the circumstances dad must travel elsewhere to find work, a decision that inevitably breaks Cuca’s heart. Mom does her best to console him, but eventually Cuca grabs his suitcase, packs a single item – a family photo – and ventures into the great unknown in search of his hardworking father. Following a bumpy ride the boy meets an elderly man whose dreams and happiness seem to have been ripped from soul by hardships. Soon Cuca sees what troubles the man firsthand. Elderly people working in agriculture at a larger scale and being discarded when their bodies are too fragile to keep up with the industrial demands
Weaved into the film’s evocative imagery, Abreu tackles the impeding threat of a system wishing to replace human involvement for more efficient practices to maximize financial gain, a concern that mirrors the fact that traditional animation is now the anomaly in the face of more cost-effective and less time-consuming methods. However, as Cuca continues on his enthralling voyage we are shown time and time again that craftsmanship led by an emotional connection to the work is always far superior in terms of its gravitas. In a different corner of this world Cuca encounters a young man who spends his days laboring in the textile industry, while secretly manufacturing a rainbow-colored poncho for his sidewalk musical performance. Living in a working-class neighborhood, which undeniably resembles the well-known favelas, can’t break the spirit of the talented musician.
Of course, the corporate machine has other plans, and finds a high-tech way to mass-produce their good leaving people without a job. The dangers of consumerism and the voracious nature of so-called progress are evident in how Abreu depicts the false glimmer of a cosmopolitan city of the rich and the dismal poverty around it. It’s admirable how “Boy and the World” delivers a powerful message against social injustice in a totally cinematic fashion and a million times more effectively that any tiresome speech. It’s activism from the heart through ingenious portrayals of these evils of the modern world, their perpetrators, and their victims. But let’s be clear, even though “Boy and the World” deals with intellectually complex topics, it’s never less entertaining and enjoyable because of it. What’s even more important is that it's never preachy in its approach.
Tied in with the segments that delve into inequality and greed, Cuca’s dreamy experience also explores environmental concerns and the reckless exploitation of natural resources to satisfy our inessential desire to consume. This subject has even more important connotations in Brazil, which one of the countries most affected by deforestation. Clearly preoccupied by the horrendous repercussions of these activities, Abreu makes an unshakable point. For a brief moment the animated universe gives in to real life footage of destruction in what becomes a hauntingly poignant sequence within this flawless film.
Astoundingly, all of the film’s profound and intricate ideas are communicated without a single line of dialogue. True, occasionally we hear some of the characters speak, but their lines are in a fictional language created by forming phrases with Portuguese words written backwards. Even the lyrics to the samba-infused song "Airgela," which is the soul of the film, were created by using this system. “Airgela” is “Alegria” written in reverse and it means happiness in both Portuguese and Spanish. Similarly any signs or billboards seen on throughout Cuca’s adventures employ the same rule. Details like this demonstrate the universality of “Boy and the World” and the filmmaker’s painstakingly genius thought process to invent a visual story where every minuscule element has its purpose.
Astoundingly, all of the film’s profound and intricate ideas are communicated without a single line of dialogue. True, occasionally we hear some of the characters speak, but their lines are in a fictional language created by forming phrases with Portuguese words written backwards. Even the lyrics to the samba-infused song "Airgela," which is the soul of the film, were created by using this system. “Airgela” is “Alegria” written in reverse and it means happiness in both Portuguese and Spanish. Similarly any signs or billboards seen on throughout Cuca’s adventures employ the same rule.
Music is strongest of shields against oppression in Abreu’s perfect film and undoubtedly one of its most memorable attributes. When the cheerful song of a united people literally takes flight to fight its tyrant, we become aware of how vulnerable we are, but also that every new generation represents a new hope for change. Details like this demonstrate the universality of “Boy and the World” and the filmmaker’s painstakingly genius thought process to invent a visual story where every minuscule element has its purpose.
Once Cuca brings us back to where it all started, Abreu still has one delicate final twist that confronts us with the things we left behind in a simpler past, our unfulfilled dreams lost in the notion of what we thought our lives would be, and those endearing memories that keep us going. “Boy and the World” is a multicolored tapestry of endless ambition that stimulates our intellect and embraces our hearts. To say I loved this film would be a blatant understatement, Just like Cuca treasures his beloved father’s song as a keepsake for future inspiration, I will dearly hold “Boy and the World” among a select group of timeless delights that won’t ever fail to make me smile.
"Boy and the World" will open in La and NYC on December 11, 2015 through GKids. International Sales Agency: Elo Company...
What might be unexpected for some is that the latest film to step away from those trends and that graciously shows audiences and industry experts why idiosyncratic, stylistically inventive, thematically complex, and non-franchise work is remarkably necessary, is an animated feature from Brazil, which was made outside of any profit-driven production parameters and proudly standing as the product of an independent auteur's perseverance.
Alê Abreu’s “Boy and the World” is unequivocally the best animated film of the year. Drawn with the finest ends of an artist's heartstrings and painted with the colorful essence of undefeatable hope, Abreu’s utterly lyrical, visually captivating, musically driven, and extraordinarily sophisticated treasure is the animated equivalent of a childhood dream that thrives on sweet innocence and the pure ability to see the world truthfully for its dazzling beauty and its man-made dangers. As it continues to spellbind the globe with its unconventional artistry and thought-provoking observations, an Oscar nomination would be a more than deserved crown jewel.
Opening with a kaleidoscopic vision, "Boy and the World" instantly sets in motion a dynamic introduction to Cuca, the boy, and his fascinating surroundings. From those very first frames it’s clear we are dealing with moving illustrations where the hand of the wizard makes its presence visible in the use of crayons, color pencils, cutouts, oil paint, and everything in between. The strokes, the lines, and the natural textures of each technique give us the sense that we are witnessing a marvelous coloring book come to life via unimaginably fluid choreography. It just doesn’t get any more palpable and real than that. The ways Abreu takes hand-drawn animation to new and unexplored heights only escalate in amazement as the plot thickens.
With a seemingly simple appearance, Cuca is a charming little character. His thin extremities, a striped shirt, and roughly sketched facial features that are heartwarmingly expressive, make for a perfectly unassuming protagonist to embark on a fantastic adventure with. Tirelessly receptive to wonder and possibility, Cuca lives in the countryside with his parents and not unlike most boys his age he enjoys climbing on tress and exploring nature. Yet, if there something Cuca loves more than anything else is to listen to his father play a joyous melody on the flute. This wondrous tune embodies cherished memories, and since in Cuca’s world music manifests itself physically as radiant floating spheres, the adorable hero decides to save one of these as his most valued possession.
But despite its tranquil pace and gorgeous sunsets, the pastoral lifestyle becomes increasingly difficult for Cuca’s father who is trying to support the family by farming the land. Pushed by the circumstances dad must travel elsewhere to find work, a decision that inevitably breaks Cuca’s heart. Mom does her best to console him, but eventually Cuca grabs his suitcase, packs a single item – a family photo – and ventures into the great unknown in search of his hardworking father. Following a bumpy ride the boy meets an elderly man whose dreams and happiness seem to have been ripped from soul by hardships. Soon Cuca sees what troubles the man firsthand. Elderly people working in agriculture at a larger scale and being discarded when their bodies are too fragile to keep up with the industrial demands
Weaved into the film’s evocative imagery, Abreu tackles the impeding threat of a system wishing to replace human involvement for more efficient practices to maximize financial gain, a concern that mirrors the fact that traditional animation is now the anomaly in the face of more cost-effective and less time-consuming methods. However, as Cuca continues on his enthralling voyage we are shown time and time again that craftsmanship led by an emotional connection to the work is always far superior in terms of its gravitas. In a different corner of this world Cuca encounters a young man who spends his days laboring in the textile industry, while secretly manufacturing a rainbow-colored poncho for his sidewalk musical performance. Living in a working-class neighborhood, which undeniably resembles the well-known favelas, can’t break the spirit of the talented musician.
Of course, the corporate machine has other plans, and finds a high-tech way to mass-produce their good leaving people without a job. The dangers of consumerism and the voracious nature of so-called progress are evident in how Abreu depicts the false glimmer of a cosmopolitan city of the rich and the dismal poverty around it. It’s admirable how “Boy and the World” delivers a powerful message against social injustice in a totally cinematic fashion and a million times more effectively that any tiresome speech. It’s activism from the heart through ingenious portrayals of these evils of the modern world, their perpetrators, and their victims. But let’s be clear, even though “Boy and the World” deals with intellectually complex topics, it’s never less entertaining and enjoyable because of it. What’s even more important is that it's never preachy in its approach.
Tied in with the segments that delve into inequality and greed, Cuca’s dreamy experience also explores environmental concerns and the reckless exploitation of natural resources to satisfy our inessential desire to consume. This subject has even more important connotations in Brazil, which one of the countries most affected by deforestation. Clearly preoccupied by the horrendous repercussions of these activities, Abreu makes an unshakable point. For a brief moment the animated universe gives in to real life footage of destruction in what becomes a hauntingly poignant sequence within this flawless film.
Astoundingly, all of the film’s profound and intricate ideas are communicated without a single line of dialogue. True, occasionally we hear some of the characters speak, but their lines are in a fictional language created by forming phrases with Portuguese words written backwards. Even the lyrics to the samba-infused song "Airgela," which is the soul of the film, were created by using this system. “Airgela” is “Alegria” written in reverse and it means happiness in both Portuguese and Spanish. Similarly any signs or billboards seen on throughout Cuca’s adventures employ the same rule. Details like this demonstrate the universality of “Boy and the World” and the filmmaker’s painstakingly genius thought process to invent a visual story where every minuscule element has its purpose.
Astoundingly, all of the film’s profound and intricate ideas are communicated without a single line of dialogue. True, occasionally we hear some of the characters speak, but their lines are in a fictional language created by forming phrases with Portuguese words written backwards. Even the lyrics to the samba-infused song "Airgela," which is the soul of the film, were created by using this system. “Airgela” is “Alegria” written in reverse and it means happiness in both Portuguese and Spanish. Similarly any signs or billboards seen on throughout Cuca’s adventures employ the same rule.
Music is strongest of shields against oppression in Abreu’s perfect film and undoubtedly one of its most memorable attributes. When the cheerful song of a united people literally takes flight to fight its tyrant, we become aware of how vulnerable we are, but also that every new generation represents a new hope for change. Details like this demonstrate the universality of “Boy and the World” and the filmmaker’s painstakingly genius thought process to invent a visual story where every minuscule element has its purpose.
Once Cuca brings us back to where it all started, Abreu still has one delicate final twist that confronts us with the things we left behind in a simpler past, our unfulfilled dreams lost in the notion of what we thought our lives would be, and those endearing memories that keep us going. “Boy and the World” is a multicolored tapestry of endless ambition that stimulates our intellect and embraces our hearts. To say I loved this film would be a blatant understatement, Just like Cuca treasures his beloved father’s song as a keepsake for future inspiration, I will dearly hold “Boy and the World” among a select group of timeless delights that won’t ever fail to make me smile.
"Boy and the World" will open in La and NYC on December 11, 2015 through GKids. International Sales Agency: Elo Company...
- 11/18/2015
- by Carlos Aguilar
- Sydney's Buzz
The Boy And The World Movie Trailer & Poster. Alê Abreu‘s The Boy And The World (2015) movie trailer stars Marco Aurélio Campos, Vinicius Garcia and Lu Horta. The Boy And The World‘s plot synopsis: “A little boy goes on an adventurous quest in search of his father.” According to FirstShowing, “Gkids has debuted a beautiful trailer for the Brazilian […]...
- 11/12/2015
- by Marco Margaritoff
- Film-Book
This looks wonderful. You have to see this! Gkids has debuted a beautiful trailer for the Brazilian animated film The Boy and The World, a feature film that is "entirely wordless, the narrative describes a clash between poor and rich, countryside and city, indigenous and imperial, handcrafted and mechanized – and throughout the tumult, the heart and soul of the people beats on as a song." It's from Brazilian filmmaker Alê Abreu, and features a lot of amazing imagery from Brazil telling the story about this boy going to the city. It's also told with music, using the pan-flute, samba, and Brazilian hip-hop. I'm not sure what to make of it until I watch the entire thing, but this has convinced me it's worth seeing and may end up with an Oscar nomination anyway. It will arrive in Us release this December, before playing wider throughout January. Here's the official Us...
- 11/12/2015
- by Alex Billington
- firstshowing.net
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