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Le Tableau is a rather clever pastiche of Romeo and Juliet and The Wizard of Oz. It’s also a palimpsest, rich in content and meaning below the surface. Star-crossed lovers Ramo (Adrien Larmande) and Claire (Chloé Berthier), must hide their romance, not because of their surnames, but as a result of differences in class and religion. We've seen this a million times before, but never as in this animated film co-written and directed by Jean-François Laguionie. Ramo and Claire are figures in an incomplete painting; he belongs to the aristocratic Toupins (tout peint, or 'fully drawn'), who live in the palace, and she to the stigmatized Pafinis (Pas fini, or 'not finished'), who occupy the garden (there are also the Reufs, exiled in the "Cursed Forest" with its "Flowers of Death"). The Pafinis await the return — the Second Coming, so to speak — of the Painter (appropriately performed, in voice and body, by Laguionie himself, who personally designed each of the characters), so he can finish them. The Toupins, agitated by the Great Chandelier (Jacques Roehrich), believe that the Painter will not return because his work is already done (“And if he made us, the Toupins, the only perfectly drawn beings in his works, it is because such was his intention"). As for the Reufs, "it is said that they believe in nothing." The love story is, counterintuitively, the weakest aspect of the plot — in particular plain and tall Claire, designed in Amedeo Modigliani's elongated style; fortunately, the true heroine is Lola (Jessica Monceau), who has the physiognomy and the self-assurance of a young Salma Hayek. She takes on the role of Dorothy alongside the Lion, Scarecrow, and Tin Man who are Ramo, Plume (Thierry Jahn) — a Reuf whose friend was turned into abstract art under the Toupins' boots —, and Magenta (Thomas Sagols), a soldier from another painting. The foursome literally walk through the fourth wall, leaving their paintings to visit the apparently abandoned studio of the Painter, about whom they nonetheless learn quite a bit thanks to some of his other works, including a self-portrait and a nude of an former lover named Garance. It is through this painting that the protagonists access Venice; that is, the Venice of the Painter’s dreams: an endless carnival concealing deep sadness and loneliness. Eventually, the heroes tired of waiting for God's help and start helping themselves; with the help of the self-portrait and the materials they find in the studio, the 'unfinished' finish themselves. This is interesting because it is not the Toupins who learn to accept the Pafinis as they are, but the Pafinis who change to fit in with the Toupins; however, Le Tableau is not so much about tolerance as it is about free will (as the Painter tells Lola, when she finally finds him: "I didn't abandon them; [on the contrary], I gave them the essentials)". Notably, Lola is the only Pafini who declines to become a Toupin, as well as the only one who refuses, so to speak, to be confined to a frame. Le Tableau is an impressive collage, not just of styles — 3D digital animation made to look hand-drawn, mixed with live action and photorealistic CGI (arguably the best use of these modern technologies I've ever seen), through which hommage is made to Chagall, Modigliani, Picasso and Matisse —, but mainly of ideas; a reflection on the nature of art, reality, perception and identity, and on the role of the artist as a demiurge.
Against his father Odin's will, The Mighty Thor - a powerful but arrogant warrior god - recklessly reignites an ancient war. Thor is cast down to Earth and forced to live among humans as punishment. Once here, Thor learns what it takes to be a true hero when the most dangerous villain of his world sends the darkest forces of Asgard to invade Earth.
Asterix and Obelix have been given a tough mission: Transform the chief's lazy nephew Justforkix into a warrior. When the Vikings abduct him and bring him back to their homeland, Asterix and Obelix must travel to Norway to rescue Justforkix.
When her grandson is kidnapped during the Tour de France, Madame Souza and her beloved pooch Bruno team up with the Belleville Sisters—an aged song-and-dance team from the days of Fred Astaire—to rescue him.
On the planet Ygam, the Draags, extremely technologically and spiritually advanced blue humanoids, consider the tiny Oms, human beings descendants of Terra's inhabitants, as ignorant animals. Those who live in slavery are treated as simple pets and used to entertain Draag children; those who live hidden in the hostile wilderness of the planet are periodically hunted and ruthlessly slaughtered as if they were vermin.
In this animated short, a terrible curse deprives Balthasar's kingdom of its stories. Taking the unicorn's horn back into The Belly of the Earth is the solution. Poppety will lead an expedition, by chance uncovering a hitherto closely guarded family secret.
The film is a sub-story to Kirikou and the Sorceress rather than a straight sequel. The movie is set while Kirikou is still a child and Karaba is still a sorceress. Like Princes et princesses and Les Contes de la nuit, it is an anthology film comprising several episodic stories, each of them describing Kirikou's interactions with a different animals. It is however unique among Michel Ocelot's films, not only in that it is co-directed by Bénédicte Galup (who has previously worked with him as an animator) but also for each of the stories being written by a different person (in all other cases, Ocelot has been the sole writer and director of his films).
Chris Nielsen dies to find himself in a heaven more amazing than he could have ever dreamed of. There is one thing missing: his wife. After he dies, his wife Annie killed herself and went to hell. Chris decides to risk eternity in Hades for the small chance that he will be able to bring her back to heaven.
Posing for a portrait, Dorian Gray talks with Lord Henry Wotton, who says that men should pursue their sensual longings, but laments that only the young get to do so. Taken with the idea, Dorian imagines a scenario in which the painting will age as he stays youthful. His wish comes true, and his boyish looks aid him as he indulges his every whim. But when a stunning revelation forces him to see what he's become, Dorian faces some very dangerous questions.
One of the first animated short films. A wanderer enters a cabaret in the countryside and asks a waitress for a beer. She comes back with a pint, as the wanderer begins to court her. However, the kitchen boy comes, drinks the beer and vanishes. The wanderer, misunderstanding, asks for another beer. Then a traveler enters and has an argument with the wandered. During the argument, the kitchen boy appears, sips the second beer and runs away. As the traveler quits, the customer finds his glass empty again. He calls the waitress, expresses his disappointment and leaves. The kitchen boy comes in and explains to the waitress what he did with the two beers. They make fun together of the wanderer and leave. A lost film.
Not to be confused with Ocelot's 2011 feature film, Tales of the Night is a made for TV silhouette animation. It is a compilation of 3 fairy tale like stories, bridged by sequences of a boy and girl in an abandoned theater.