The Triplets of Belleville 2003/ Available On Streaming Rental or Purchase
8.9
C
Connor McCurren
This French film, written and directed by the filmmaker Sylvain Chomet, is in the strictest sense an animated foreign comedy film but it is unlike anything I have ever seen. It has a unique surrealist animation style that manages to stay oddly grounded. In other words, it wasn’t some psychoactive drug trip but more like taking a look at the world through Salavador Dali’s eyes. However what struck me the most while watching this film was how everything was animated to extenuate ugliness and imperfection. None of the surroundings and characters look like you see in most animated films, either hyper-realistic or like unblemished porcelain dolls; everything is drawn with blatant, over-exaggerated, and warped features. These features define each character as well as instantly evoking what thoughts and feelings the director wants you to associate with them. The characters’ exaggerated features also allow the film to progress without almost any actual dialogue. Contextual clues and facial expressions were more than enough to conduct entire conversations as well as progress the story line without ever saying a word. This makes the movie accessible to people of all tongues without the subtitle stigma that many people have with watching foreign films. In conclusion, while this film is not for the causal movie watcher, it is still a beautifully imperfect work of hand-drawn art that is an experience that goes far beyond mere entertainment.
This French film, written and directed by the filmmaker Sylvain Chomet, is in the strictest sense an animated foreign comedy film but it is unlike anything I have ever seen. It has a unique surrealist animation style that manages to stay oddly grounded. In other words, it wasn’t some psychoactive drug trip but more like taking a look at the world through Salavador Dali’s eyes. However what struck me the most while watching this film was how everything was animated to extenuate ugliness and imperfection. None of the surroundings and characters look like you see in most animated films, either hyper-realistic or like unblemished porcelain dolls; everything is drawn with blatant, over-exaggerated, and warped features. These features define each character as well as instantly evoking what thoughts and feelings the director wants you to associate with them. The characters’ exaggerated features also allow the film to progress without almost any actual dialogue. Contextual clues and facial expressions were more than enough to conduct entire conversations as well as progress the story line without ever saying a word. This makes the movie accessible to people of all tongues without the subtitle stigma that many people have with watching foreign films. In conclusion, while this film is not for the causal movie watcher, it is still a beautifully imperfect work of hand-drawn art that is an experience that goes far beyond mere entertainment.