Best Animated Feature Contenders: "Ne Zha"

by Tim

Thus far in this round-up of 2019's animated features, we've been focusing on Oscar hopefuls and the more artsy side of animation. This week's subject, Ne Zha, is neither of those things, but in its own way, this is still as significant as any other film we've looked at. This is a blockbuster of the first order: the second-highest-grossing Chinese film in history (and the second-highest-grossing film made in a language other than English), with the highest single-territory gross for any animated film ever made. And even though stories about the Chinese box office always have to come with an asterisk attached (those numbers are often cooked a bit, especially when records are in play), that is by any means enough of a big deal that it's more than a little frustrating that essentially nobody in the United States has heard about any of this.

Ne Zha is a film the Chinese animation industry has been working towards for a long time. Along with the rest of Chinese cinema, animation has spent most of the last decade looking to beat Hollywood at its own game, providing the kind of opulent spectacle that for a long time was the exclusive domain of big-budget American filmmaking...

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Best Animated Feature Contenders: How to Train Your Dragon 3

by Tim

Only time will tell which five movies are going to receive nominations for the Best Animated Feature Oscar in January, but I can tell you this much with absolute certainty: there are going to be a lot of sequels in the mix. Each of the four biggest American animation studios released a single film in 2019, and each one of those was a franchise entry. Disney had the blockbuster hit Frozen II just a month ago, and their corporate cousin Pixar released the slightly smaller hit Toy Story 4 over the summer. Illumination Entertainment had a rare flop with The Secret Life of Pets 2. Before any of these, though, came my pick for the best major studio animated feature of the year, and a film we really haven't talked about very much at the Film Experience: DreamWorks Animation's How to Train Your Dragon: The Hidden World, third and final film in a trilogy that started in 2010.

The film was greeted without much enthusiasm, whether from critics, fans of the series, or audiences more generally; this seems horribly unfair to me. While it is more than a little bit of a retread of 2014's How to Train Your Dragon 2 in its plot and especially in its generic, forgettable villain (and one should never think "unforgettable" when watching a character played by F. Murray Abraham, but here we are), the emotional stuff is all new...

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Animated Feature Contenders: "This Magnificent Cake!"

by Tim

With no more new animated releases coming up for a while, this round-up is changing focus: we'll spend the next few weeks looking at some of the more noteworthy titles eligible for the Best Animated Feature Oscar this year. And "feature" barely feels like the right word to describe the 44-minute This Magnificent Cake!, but it just makes it according to the Academy's rules (which state that a feature is more than 40 minutes long).

So it might make it to "feature" on a technicality, but it's unquestionably noteworthy. This is the longest collaboration to date from Belgian directors Emma De Swaef & Marc James Roels, who have made a cottage industry over the last decade with some of the most distinctive-looking films in the world. Not a claim to make lightly, but it's hard to come up with any other way of putting it. The duo's characteristic style is to fashion puppets out of wool and other craft material, and then give them life through stop-motion animation; it's basically what you'd get if you were told to make a movie using only the things you could find in a fabric store...

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Animated Feature Contenders: "I Lost My Body"

by Tim

I Lost My Body, the first animated film to win the top prize at the Cannes International Critics's Week, is nothing if not distinctive. The "I" of the title is a sapient severed hand, which spends the length of the feature skittering around on its fingers, looking for the human to whom it used to be attached; this is a journey that is by turns bittersweet, sentimental, and horrifying. Director Jérémy Clapin, making his feature debut (he was also responsible for the celebrated 2008 short Skhizein), spent years sheperding this project into existence, and it has the unmistakable feeling of a passion project, one whose odd shifts in tone and moody emotional appeals are wonderfully earnest. While it is probably not the best animated feature of 2019, it's surely the most uncompromised and confident.

The film, adapted by Clapin and Guillaume Laurant from Laurant's novel Happy Hand (his other film credits include Amélie, and the echoes of that story ring very loudly here), divides itself into two strands. One is about that hand, deftly making its way through the all the dangers that reside six inches above the ground in Paris. The other is a quasi-romantic drama about a lost soul, twentysomething sad sack Naoufel (Hakim Faris)...

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Animated Feature Contenders: China's "White Snake"

by Tim

The original Chinese title for the new animated mythological epic White Snake is just a hair different from the one that distributor GKIDS is using to promote the film. The literal translation is White Snake: Origin, which tells us quite a lot, in fact. This isn't just any old fantasy adventure, you see: it is, in fact, an original prequel to one of the most important of all traditional Chinese folk tales, "Legend of the White Snake." This matters for a couple of reasons: first, because it explains something that a lot of American critics have been complaining about, which is the film's frequently inscrutable narrative progression. Which is, to be fair, a little bit inscrutable, but much less so if you keep in mind that, for the target audience, many of the things that seem most inexplicable have already been explained simply by the film announcing up front that it takes place in a certain kind of generic universe where certain rules apply. Which sucks if you're not part of that target audience, but we can at least try to meet the film where it lives.

Second, even if you (like me) don't know much or anything about "Legend of the White Snake," you probably at least know one or two folk tales from your own background culture, and wherever you come from in the world, folklore has a very distinct cadence...

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