2014 is the year of focus this week, and I watched a bunch of 2014 releases that I missed out. 2014 falls amongst the lowest in number of animated films I wanna check out for this project (just a mere 21 films – and I had to stretch already with including a miniseries Over the Garden Wall). It doesn’t help that some that I watched aren’t that good to begin with. There are some pleasant surprises, though, with 2 out of these three exceeding my expectations. For 2014 edition we have a film about the Day of the Dead (in a decade where Day of the Dead is frequent, with Coco, the short Dia de Los Muertos (2013) and La Leyenda de la Nahuala deal with the same subject matters), a WWII anime film and American indie Boxcar Children. Let’s get down to it:
This week, we will head to a niche market: anime TV movies from 2019. These films are all sequels of popular anime series in the past few years, which all in turns are based on popular Light Novels and while the original series are far from my Top 10 Anime material (although Tanya was close), I’m still interested in the franchises enough to follow them through. In the last couple of years, the anime medium have emphasized on following a successful season with a sequel film (or in some cases, multiple films). I suppose the main reason for that is that they can gain actual profits from releasing it in cinema and while the upside is that movie format has far better production values, we as the audiences have to wait much longer and they are not exactly newcomer-friendly. You can still watch these three films below without knowing any context, but the fact remains that there is a certain level from the films that you can only fully appreciate if you know the full context.
This week, we will have a look of French animated films in 2015. It was a great year for France with 4 distinctive movies (these three along with April and the Extraordinary World, which I enjoyed) that could rival any year this decade. It’s interesting to look at the settings of these films as well as literally they are all over the place. April takes place in an alternative steampunk Paris, Long Way North is about Russian aristocrat on her journey to the North Pole, Phantom Boy takes place in whimsical New York and Adama is in a West African village. France has always been one of the leading markets in animation, and I’m glad that the country still intends to keep the art of hand-drawn animation alive and healthy. Merci.
For this edition we’re examining anthology animated films of the decade… well, sort of, as far as the definition of anthology goes. Short Peace is composed by 4 different shorts from 4 different directors, whereas The Prophet uses the different segments for different poems in support for the main storyline, and Extraordinary Tales are based on short stories by Edgar Allan Poe that are directed by the same director. Anthology films usually fall in pitfall for inconsistency, as some shorts are better than others, and for thematic and tonal incoherence, but at the same time these films offer multi-perspective with fresh takes on its particular themes. It has a degree of freedom that regular feature-length films don’t have. We will take a look at those mid-2010s titles, again from 3 different continents, to see whether they work as a collective piece. Enjoy.
For this edition, we’ll visit some indies in 2016. 2016 is an excellent year for animation (which I will discuss further once I do the yearly review). These three are certainly not the cream of the crop, they’re too niched for a wider audience. After all, we have a story about old couple, a story about eldery woman wandering along the shore and a BL story. But precisely because of that, these overlooked gems have a freedom to tell the stories as they intended. Besides, they look distinctive and gorgeous as heck. Let’s dive in
With the coronavirus outbreak glooming across the globe, it’s saddened to see how it already affects the cinema industry as a whole. Current productions are halting, theatres are having the lowest attendance in years, film festivals are canceled and even the fate of Cannes this year is up to the air at the moment (this is a current-me talking and who knows how things go 3,4 weeks from now but if Cannes still decides to proceed, I’ll go as well knowing the full risks). But if this outbreak has any positive aspect, it’s that “staying indoor” means “watching more films and anime”.
For this edition, we will have a look at certain types of animated films that appeal specifically for my taste: feminime films (mostly) made by women about women’s lives. Normally, animation is a product of collaborative efforts. More so than live-action, animation requires a larger number of people working on different aspects to bring a piece of blank paper to life. But these films mentioned below shine through their personal, intimate stories about themselves, about growing-up, midlife crisis where the roles of men are either dominant or insignificant at all. “We show that women can take ownership of their stories, their lives and make their own decisions. We don’t need to ask for permission. We’re each our own owner and we do whatever we want to do. The timing was just right for this story.” says Power Paola in her Virus Tropical film. It’s worth mentioning that Persepolis from 2007 serves as the main influence for these films, as they all acknowledge the refreshing and intimate approach of Persepolis.
As a last note, I should talk in more details about the art-styles and the background about the films, since celebrating the diversity of art styles from all around the world are one of the very reasons I wanted to do this project in the first place.
2017 might not be a great year for mainstream studio releases, but in terms of independent films there are many that leave a lasting impact. These three films, all from Europe, have distinct aesthetic and different art styles, yet I can’t imagine they are in any form other than animation. They all played during the Annecy Film Festival (though Big Bad Fox and Mutafukaz weren’t in the main competition, and Cinderella the Cat played a year later), which still remains one of the leading animation festivals. Let’s unpack them below.
For this section, We’re heading to Spain to have a look at their animation this past decade. All things considered it had been a good decade for Spain. While the more popular CG outputs such as Planet 51, Tad The Lost Explorer which were box-office hits but performed poorly critically, it’s their indie, mature projects that – ahem, excuse my pun – has aged much better. Even if many of them are on the plain-looking side, they more than make up for the sheer power of their subject matters. Also I would add to this batch Chico & Rita (which I enjoyed during its release but I need to re-watch some day). These three films below are definitely adult-oriented, and for my money the more unique offerings in the animation scene. Let’s dig in:
This time we head back a year to some festival-friendly animated indies in 2018. These films are pretty much passion projects from the creators, and you can see the love for the craft every single minute in the films. Three very different stories from three different regions. From the true story of his mother during the Khmer Rouge in Funan, to Studio Ponoc’s several intimate shorts and finally to Nina Paley’s 7-year in production for a film that eventually released for free. It’s a solid batch of films all around. Next time, we’ll head to Spain for some of their most acclaimed features in 2010s. For now, enjoy.
Well, I promise that this post is the last 2019-centric coverage before I move on to other specific years/ themes (not that this is the end of 2019 titles oh no there are still lots of good ones out there). For this part I decide to pick 3 smaller entries around the globe, with different art styles, aesthetics and target audiences. One from the respected female filmmakers about the harsh lives of people in Taliban, another is a manga-turn-anime tale about growing up, and the last is another addition to an all-time family-friendly classic from the UK. I hope you enjoy the piece.