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
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
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