Belleville Rendez - Vous (2003) - Film Review

Fig 1. Film Poster

The Belleville Rendez - Vous (2003) or translated as 'The Triplets of Belleville',was written and directed by Sylvain Chomet. Chomet is a French Animator, who showcased his film at the Edinburgh International Film Festival in 2003. The animation is in 2D and traditionally hand drawn. Chomet is also know for directing the film 'The Illustionist' in 2010, which is similar in its style but much more toned down. The Belleville Rendez - Vous is set from 1900's to the 1930's. The animated feature tells the story of a Grandma who raises her own grandson and will do anything to make him happy. Even if that means helping him achieve his dreams as a Tour De France cyclist.

The films characters are far from the average design, each character's physic is profoundly exaggerated. This I feel adds more to their individual personalities. For example the 'happy waiter' is tall, flimsy and has a massive grin on his face. His whole body bends and flexes to his customers needs, making even his own body movements exaggerated too. (See Figure 2) 

Most of the taller characters have really long noses and stretched necks, where as the short characters are on the other end of the extreme with much smaller noises and stubbier bodies. 
"To call it weird would be a cowardly evasion. It is creepy, eccentric, eerie, flaky, freaky, funky, grotesque, inscrutable, kinky, kooky, magical, oddball, spooky, uncanny, uncouth and unearthly." (Ebert R, 2003)

You could say that the character's features are truly unusual. However, due to the lack of dialogue  this choice of design acts as the verbal communication through out the film. Like silent movies, the film focuses on others ways to tell a story through comedic movement and expression.
"The hand-drawn animation gives the primarily dialogue-free Belleville Rendez-Vous a deliberately antiquated visual style, and Chomet relishes caricaturing the body shapes of his characters - whether it's the overly muscular thighs and protuberant nose of Champion, or the grotesquely obese residents of Belleville." (Dawson, T 2003)

As well as exaggerating the characters features, the directer has enhanced and played upon the "French stereotypes." The Triplets of Belleville invite Madame Souza into their home as a place of rest and shelter until she finds her grandson. Souza is shocked when she discovers that all they eat is frogs. The director manages to poke fun at the french stereotypes that society makes, with out it being offensive. Almost pointing out at how ridiculous these stereotypes are and how these extreme persona's don't really exist.

The film is heavily influenced by the french culture. Audiences outside of this culture may not understand these differences: "There are certain references within The Triplets of Belleville that American audiences may not be receptive to because these references are intended for French audiences. The mania surrounding the Tour de France, for example, may not be ingrained in the American audience’s cultural encyclopedia." (Levine, S 2013)

Although the film seems strange at first it begins to grow on you as you start to understand the directors intentions. It goes from what you think is "weird" to humorous, different and fun. 


Bibliography
Ebert R, (2003) The Triplets of Belleville https://www.rogerebert.com/reviews/the-triplets-of-belleville-2003
(Accessed 08.02.18)

The Scotsman (2010) Interview: Sylvain Chomet, Direcor of The Illusionist https://www.scotsman.com/lifestyle/interview-sylvain-chomet-director-of-the-illusionist-1-477687
(Accessed 08.02.18)

Dawson, T (2003) Belleville Rendez - Vous (2003) http://www.bbc.co.uk/films/2003 /08/06/belleville_rendezvous_2003_review.shtml
(Accessed 08.02.18)

Levine, S (2013) Intertextual Rendez-Vous: Viewing The Triplets of Belleville from an American Perspective

https://blogs.commons.georgetown.edu/cctp-748-spring2013/2013/03/13/intertextual-rendez-vous-viewing-the-triplets-of-belleville-from-an-american-perspective/
(Accessed 08.02.18)

Belleville Rendez - Vous (2003) Film


Illustration List
Figure 1. Film Poster http://www.gstatic.com/tv/thumb/dvdboxart/32557/p32557_d_v8_aa.jpg
(Accessed 08.02.18)

Figure 2. Film Still https://theanimfilmcritic.files.wordpress.com/2012/09/triplets-of-belleville-french-waiter-youtube.jpg
(Accessed 08.02.18)

Figure 3. https://i.pinimg.com/originals/14/31/b8/1431b8e034a2eac498f5f76e6ac45823.jpg
(Accessed 08.02.18)

Figure 4. http://www.californiaherps.com/films/filmimages/tripletsofbelleville11.jpg
(Accessed 08.02.18)

Film Review - Waltz With Bashir (2008)

Fig 1. Film Poster 

Waltz With Bashir' was written, directed and produced by Ari Folman. The film's original language is Hebrew but it has English and French subtitles. The film is an animated war documentary which depicts the sad and horrific moments of the Lebanon War in 1982.

"The 1982 Lebanon War began on June 6, 1982, as what was supposed to be a short-term military operation - Operation Peace for Galilee. The operation was meant to destroy militant infrastructure on the Lebanese-Israeli border, which had been used by terrorists to attack IDF forces, as well as the Israeli communities abject to the border." Ynetnews, 2008) In the film a man named Ari is trying to uncover the memories from his past as a soldier from the Lebanon War. He has trouble remembering this period of his life, so decides to search for his fellow friends and comrades who explain their experiences of the war from their point of view.

The film presents itself in a graphic, novel style. All the scenes are beautifully illustrated with matching colour schemes. Many of the scenes have thick, black, sharp lines and shadows, giving it a 2D, cartoon effect. However, this contrasts with the use of bold colours to create light, making the characters and buildings less flat and more 3D. "Planes and surfaces stir and throb with colours harder, sharper, brighter than before. It looks like one long hallucination, and therefore perfect for the trauma of Folman's recovered memories." (Bradshaw P, 2008)

Fig 2. Film Still

The film was originally a 90 minute, real life video, with 90 pages worth of script. "From there 2,300 original illustrations were drawn based on the storyboard, which together formed the actual film scenes using Flash animation, classic animation, and 3D technologies” (Zumberg, 2008).
This made critiques question  how the movement of characters were done so well? The director had even been accused by some, of using the method of Rotoscoping: "When using this technique, animators trace over live action film movement on each frame to use in an animated film." (Tech FAQ) 

The Director denies using this method: "It’s important for me to make clear that by all means this film was not made by rotoscope animation, meaning that we did not illustrate and paint over the real video. We drew it again from scratch with the great talent of art director David Polonsky and his three assistants." (Folman)

Some may say that it is unusual to use animation for something as formal as a documentary. Most animations resemble family friendly topics but this film was solely adult themed. Using animation to tell his story,  worked to the Directors advantage because there are less limitations when it comes to  animating. Animation provides the opportunity to flit between tenses, exploring the past, present and future in any one scene more easily.

Foleman had originally done documentaries without the use of animation, he explains why he made it this way: "A middleaged man being interviewed against a black background, telling stories that happened 25 years ago, without any archival footage to support them. That would have been SO BORING! Then I figured out it could be done only in animation with fantastic drawings. War is so surreal, and memory is so tricky that I thought I’d better go all along the memory journey with the help of very fine illustrators." (Folman)

At the very end of the film the animation takes a turn to real life footage from the chaotic, horrifying and tragic scenes from the Lebanon War "...there is a bold shift from animation to TV news footage. I am not sure quite what to make of this shift, and have an uncomfortable feeling that it is an aesthetic error..." (Bradshaw P, 2008) This part I found took us back to the harsh reality of war. It reminds the viewer that although this is an animation, it is not fictional. The events depicted in the film were once real nightmares for those experiencing the Lebanon War.

Fig 3. Film Still

Illustration List
Figure 1. Film Poster https://upload.wikimedia.org/wikipedia/en/9/9f/Waltz_with_Bashir_Poster.jpg
(Accessed 06.02.18)

Figure 2. https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh042rus4anIR2CFircRHSm2haGSIme4QcSEASqZY8G_5F80jpsZBvZm5Q1cfRF5EsFQGgdcL976eFEQ-RLq377Fsxju_EzhaXJuMLh4N_7DcN63i5tXpZlDYQ9Gs68Bdr349Sn_v7Dclzo/s1600/2.jpg
(Accessed 06.02.18)

Figure 3. http://3ipycv2ugat81cqgps20hwke-wpengine.netdna-ssl.com/wp-content/uploads/2016/07/waltz-with-bashir-1024x576.jpg
(Accessed 06.02.18)

Bibliography 
Bradshaw P, (2008) Waltz With Bashir https://www.theguardian.com/film/2008/nov/21/waltz-with-bashir-folman
(Accessed 06.02.18)

Waltz With Bashir (2009) Film

(Tech FAQ) What is Rotoscoping? http://www.tech-faq.com/rotoscoping.html
(Accessed 06.02.18)

Ynetnews, (2008) The Lebanon, (1982) War https://www.ynetnews.com/articles/0,7340,L-3631005,00.html
(Accessed 06.02.18)

Zumberg, J (2008). Israeli filmmakers head to Cannes with animated documentary
http:// www.israel21c.org/index.php?option=com_content&view=article&id=2026&catid=59:culture&Itemid=109
(Accessed 06.02.18)

Lorman, R Waltz With Bashi, An Ari Folman Film
http://ucarochester-cgartsandanimation.blogspot.co.uk/2018/02/fao-year-2-interview-with-ari-folman.html
(Accessed 06.02.18)

Paprika (2006) - Film Review

Fig 1. Poster Art 

Paprika is a science - fiction, Japanese, Anime film directed by Satoshi Kon. He is known for being  unique in the way that he makes animated films, steering away from the "cliches of mass-produced Japanese animation – "robots and beautiful little girls," as he once put it – Kon sought to make animation that used ambitious and often disorientating editing, intercutting and scene-shifting." (Osmond, 2010)

The film enters the minds of its characters, letting the audience see all their weird and theatrical dreams. Through the surreal universes we can discover a person's true feelings and understand why they might be having those dreams.  In this case some of the feelings  were caused by stress, anxiety, guilt and loss of control.

The film stretches past the impossibilities of reality which is difficult to achieve in a live action. Kon even refers to the reasons why he did this: "In animation, only what is intended to be communicated is there," he once said. "If I had a chance to edit live-action, it would be too fast for audiences to follow." Kon made only sparing use of CGI in his mostly drawn films, relying on such superb animators as Shinji Otsuka and Toshiyuki Inoue." (Osmond, 2010) 

With the use of this medium the Director is able to achieve almost anything they want. Having this ability meant that Kon could even  morph and shape shift characters. Their technique really reflects how our wildest fantasies can always be achieved through a dream.  "Nolan has acknowledged Paprika as an influence, but Kon's film has far more fun with its dream worlds. Its titular heroine dashes through paintings and signboards while transforming into everything from a fairy to a mermaid to Pinocchio." (Osmond, 2010) This would have been much harder and more expensive by only using CGI. 

Fig 2. Film still

Although the film can be pretty creepy and "adult like in its nature"at times, the style of the film can often distract you from this, it "is a visually gripping film that renews one's faith in the power, imagination and beauty of hand-drawn animation." (Singer, 2007)
The film uses a beautiful array of colours. Each of the dreams portray masses of detail, creating carefully crafted scenes. The animation replicates a 2D, hand drawn style, making the animation a piece of art in itself. 

The film was often confusing at times. For example, the main character known as Paprika was actually the alter ego of Chiba. This character may be Chiba's real or alternative personality, that she suppresses in reality. "One of these people is the titular Paprika, a colorful and perky young dream therapist. She's the dream avatar of Chiba, one of the scientists involved in the creation of the DC." (Tv Tropes, n.d) The DC is a machine in which you can enter your own dreams or watch them. However the machine gets into the wrong hands and becomes a machine that brings nightmares into reality. 

Fig 3. Film still 

Illustration List
Figure 1. Poster Art https://images-na.ssl-images-amazon.com/images/M/MV5BNGQ2NDUyZGItZTFmYS00YjIzLWFmZDYtZWFiZWUzZDcxYzIxXkEyXkFqcGdeQXVyNjE5MjUyOTM@._V1_.jpg
(Accessed 25.1.18)

Figure 2. Film still https://a.ltrbxd.com/resized/sm/upload/mp/6e/wk/u5/paprika-1200-1200-675-675-crop-000000.jpg?k=88023c17ba
(Accessed 25.1.18)

Figure 3. Film still https://a.ltrbxd.com/resized/sm/upload/mp/6e/wk/u5/paprika-1200-1200-675-675-crop-000000.jpg?k=88023c17ba
(Accessed 25.1.18)

Bibliography
Singer G 'Paprika': Satori With Satoshi https://www.awn.com/animationworld/paprika-satori-satoshi
(Accessed 25.1.18)

Osmond A Satoshi Kon obituary https://www.theguardian.com/film/2010/aug/26/satoshi-kon-obituary
(Accessed 25.1.18)

Tv Tropes, n.d http://tvtropes.org/pmwiki/pmwiki.php/Literature/Paprika
(Accessed 25.1.18)

Paprika (2006)

Mary and Max (2009) - Film Review

Fig 1. Mary and Max film Poster

Mary and Max (2009) is a stop - motion, animated film. The film was created in Australia by writer, director and designer Adam Elliot. "The 42-year-old claymation artist's unique homemade-looking style is present in virtually any shot of any of his creations from any of his films." (Buckmaster, 2014) Mary and Max was released at Sundance Film Festival in 2009 and is the only feature film that Elliot has ever made. 

Elliot's narrative is truly authentic, even down to the way in which the film was made. Using clay, Elliot made his characters look very cute, similar to the characters found in  the Wallace and Gromit series.  Ordinarily, these films are  associated with children. 

However Elliot wanted a more adult story line and therefore characters that depicted this.  Whilst the film could initially be mistaken for a child's programme by its title and its look,the film speaks about the truth and hardships of "real life".  As the viewer gets to know the characters of Mary and Max they appreciate that their grubby, dreary and imperfectness are more typical of adult life. 

Taking a more traditional approach such as claymation takes time, patience and a lot of hard work. "It was a logistical nightmare," he said in 2009. " They worked out if I had animated it, it would have taken 225 years." (Buckmaster, 2014) His crew even made "133 sets, 212 puppets and 475 props. Elliot employed six animators who each completed roughly five seconds a day." (Buckmaster, 2014)

The film is narrated through Max's voice and references is own thinking and life. Max is a character who suffers from severe depression, obesity and mental illness. He is later diagnosed in the film with Aspergers, which due to the difficulty he has in communicating and understanding non verbal indicators, makes life much harder for him. He opens up to his pen pal Mary about it: "Recently, whilst I was in a mental institution. They diagnosed that I have a new thing called Aspergers syndrome. Which is a Neurobiological, Pervasive, Developmental, Disability. I prefer Aspie for short." He says this wearing an "Aspies for freedom shirt" created a light hearted approach to his disability. Back then, learning difficulties were only just being recognised. They were even trying to cure people of Aspbergers: "Here I will list some of the traits of an Aspie. Number 1, I find the world very confusing and chaotic, because my mind is very literal and logical.......Dr.Bernard Hasslehoff says my brain is defective but one day their will be a cure for my disability."

Fig 2. Film Still

Max also narrates 8 year old Mary's life from her own child like perspective. During the film, we see Mary's relationship with her mother.  Max narrates  Mary's feelings towards her mother in the following way: “To Mary, Vera always seemed wobbly. Vera liked listening to the cricket while baking. Her main ingredient was always sherry. She told Mary it was a type of tea for grown-ups that needed constant testing. Mary thought her mother tested the sherry way too much." 

The film shows a very dysfunctional family that consists of an  alcoholic mother and a dad who likes to keep his distance by staying in the shed stuffing dead birds. Mary is a very sweet and kind child but feels extremely lonely, so she confides in her adult pen pal Max. 

Fig. 3 Film Still

Many people seem to unexpectedly enjoy this film. It is what you expect from an animation, its playful, humerous and fun. However it also depicts many adult themes that can be hard and uncomfortable to watch. These include: suicide, substance mis-use, mental illness and the mild suggestion of  inappropriate relationships.  I have alluded to the fact that the claymation immediately suggests 'for children'. Yet the themes, the plot and sub-plot  are only understood by adults. 

"It’s half-term, but that’s not quite why the singular claymation cartoon Mary & Max is getting an airing. One of the title characters has Asperger’s, and the other tries to kill herself — fun for all the family!" (Robey, 2010) 

It is difficult to place this film into a particular genre because it doesn't fit neatly.  Its  unique and unpredictable story and message places it in many categories. 

Illustration List
Figure 1. Mary and Max film poster https://www.google.co.uk/search?q=Mary+and+Max+2009&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiHis6LqebYAhXkD8AKHaS3BNoQ_AUICigB&biw=1229&bih=607#imgrc=uYiOYr9NJvSvUM:
(Accessed 20.01.18)

Figure 2. Film still https://blog.animationstudies.org/wp-content/uploads/2014/02/Figure-3.png
(Accessed 20.01.18)

Figure 3. Film still https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDvVL1500w1k2GbfUBzk-dgNeMFcVLlMknr2481O6aiW8nVl5yFNUPyULZQX5bHntYvCVDXPzcf9hfJjY50HI84DvdnpeKYwBx3glQhPvZxbcCEnU-IUDo6MI41tyof8ya8DKwmCkXJo0/s1600/mary's+mother.jpg
(Accessed 20.01.18)

Bibliography
Buckmaster L (2014) https://www.theguardian.com/film/australia-culture-blog/2014/may/30/mary-and-max-rewatching-classic-australian-films 
(Accessed 20.01.18)

Robey T (2010) Mary and Max Review http://www.telegraph.co.uk/culture/film/filmreviews/8078477/Mary-and-Max-review.html
(Accessed 20.01.18)

Mary and Max (2009) Film