TIFF '24: "The Wild Robot" brings Monet to a Miyazaki Forest

by Cláudio Alves

Many have rightfully said that animation isn't so much a genre as a different medium than live-action cinema altogether. Though many of the same rules apply, audiovisual grammar and specific dramatic codes, there's a depth of craft and intentionality to its image-making that exceeds what can be achieved between a camera and our material reality. Such rhetoric tends to manifest only when analyzing more avant-garde efforts in the realm of animation, but even the most mainstream of productions deserves these considerations. Chris Sanders' The Wild Robot is a good example, borne out of DreamWorks with eyes set on the future of its medium, expanding technological horizons while inventing new forms of cinematic beauty…

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Review: A cat faces the apocalypse in "Flow"

by Cláudio Alves

Is there a more cinematic animal than the cat? By all accounts, one of the first – if not the first – use of a closeup in film history featured a cat. Yes, dear reader, cat videos harken back to the 1900s, when George Albert Smith's The Sick Kitten proved a delightful diversion. More than a century later, the big screen has seen many felines, from MGM's Leo to Chris Marker's cat-forward experiments, going through a panoply of animated pusses in between. Yet, the seventh art continues its love affair with the cat, finding new ways to celebrate and elevate these natural-born movie stars. 

Just look at Flow, Latvian director Gints Zilbalodis's new film. It premiered on the Croisette before bowing at Annecy, where it won four prizes, including the Audience Award…

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Annecy 2024: A First Look at "The Wild Robot"

by Cláudio Alves

Photo by Marc Piasecki | © Getty Images for DreamWorks Animation

Paper airplanes fly through the air, zipping across the auditorium and above the audience. Some crash land on unsuspecting heads, while others sway wild into oblivion, lost in dark corners of the cinema. It's a merry sight, which only grows merrier when these crafts arrive at their intended destination – the stage – prompting applause from the crowd in good festival fashion. Within this hubbub of enthusiasm, a sense of community prevails, made more heartfelt by the presence of children among press folk, the families of filmmakers and animators excited to see how the world reacts to their work. Such was the scene at the Annecy Film Festival, as DreamWorks Animation came to celebrate its 30th anniversary and present The Wild Robot…

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Cannes 2024: Three more titles join the Official Competition

by Cláudio Alves

Michel Hazanavicius joins the Official Competition with an animated film.

As expected, a few more titles have been added to this year's Cannes Film Festival lineup. In the Premiere section, Jessica Palud's Maria Schneider biopic joins a star-studded selection. One of this year's two Count of Monte-Cristo adaptations will screen Out of Competition, while a pair of buzzy documentaries will bow in the Special Screenings program. They are Oliver Stone's Lula and Lou Ye's An Unfinished Film. Other new titles in that section include Arnaud Desplechin's latest Paul Dedalus film and Nasty, directed by Tudor Giurgiu, Cristian Pascariu, and Tudor D. Popescu. But of course, the most important announcements concern the Main Competition, where three films complete the 22-title lineup…

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A Palme d'Or for Studio Ghibli

by Cláudio Alves

NAUSICAÄ OF THE VALLEY OF THE WIND (1984) is the only Miyazaki film ever screened at Cannes.

In 1997, to mark the occasion of its 50th edition, the Cannes Film Festival awarded a special Palme des Palmes to Ingmar Bergman. Afterward, and since 2002, it has also attributed the Honorary Palme d'Or to film artists in honor of their esteemed careers. Until now, the prize has gone to directors, producers and actors such as Catherine Deneuve, Manoel de Oliveira, and Agnès Varda, among many others. This year, however, the festival will award its first Palme d'Or to animated cinema and a group rather than an individual. The honoree is Studio Ghibli, cofounded by Hayao Miyazaki, Toshio Suzuki, and the dear departed Isao Takahata. This comes after The Boy and the Heron won the studio its second Oscar and breaks with American dominance over these Honorary awards in the past few years.

It's a joyous occasion but it's also imbued with a fair amount of sorrow…

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