The Painting

a beautiful film. not complex script. not extraordinary story. but the memory of colors, the lovely simplicity, the freshness warm flavor of childhood, the emotions who are mixture of old images, adventure spirit, religious lesson and philosophical crumbs is like a kind of music. the result - an useful meeting. seductive, refreshing, delicate, a not ordinary animation who represents more than entertainment, a window to a splendid universe. the sense of well known world, the game of colors, the animation as a kind of delicate invitation to self discover are virtues of a film with not high ambitions but for this reason admirable way to remember the basic fundamental things.

It's a been a while since a film has filled me with wonder. The idea and visual effects created a world that makes you wish you could crawl through your TV. Every aspect of this movie soars: dialogue, character, story, visual, tone, etc. By comparison, the American animated movies seem too safe and predictable.

The visual team did an excellent job of creating a painted world in terms of how it looked and functioned. Some very clever thinking went into deciding what's possible within a canvas. The plot was straight forward, the painted characters fear they have been abandoned, but has enough substance for serious introspection.

The Painting is an excellent film for children and adults. It tackles some more serious themes than most American cartoons: racism, death, and philosophical questions about our purpose and creation. I'll be looking forward to seeing more films by the highly imaginative director Jean- Francois Laguionie.

The Painting (2011)

If you like animated films in general, and like inventive ones in particular, see this. I think it's good on many levels—the story, the style, the feeling. Even the sentimental ending.

But my taste for animation varies wildly. I loved "Monsters, Inc." and hated "Pocahontas." Anime leaves me cold. It isn't enough to dazzle me with animation tricks, nor to play with children's stories in inventive ways on screen.

So this story works with lots of familiar (too familiar) tropes—types of friends, heroes, problems that we know well. The animation (French) is different than both Pixar and Disney styles we know well, and also different than, say Wallace and Gromit (which wasn't American). But it isn't self-sustaining. I mean, it's a little constrained and polite, even when it is taking visual chances. It's all very "nice" all the time, and that goes with the friendly quality of the movie, too.

I sound like a curmudgeon. Not so (I think)! But I tried and tried to get absorbed and just got, well, bored. Sad to say. Judge for yourself. I will say that I think you need to give it a half an hour or so to get into some of the range of the film. But then, if it hasn't hooked you, it probably won't.

For the past two years, animated films have seemed to take a dive in both quality and execution. The narrative structure taken in some of the films like Pixar's Brave and Dreamworks' Rise of the Guardians sound good on paper but when formally implemented onto the screen, many are left wanting more. In Jean-François Laguionie's Le Tableau or how many will come to know it as, The Painting, animation is back in the forefront with an imaginative and incredibly accomplished tale of wonder, love, and revelation.

The Painting tells the story of a world unlike any other, a painting on a wall in a painter's home. There are three types of figures living inside the painting: "Alldunns" are figures that have been completely drawn with color and precision, that live in a castle and have declared themselves superior beings in the wake of the painter's absence. "Halfies" are figures that were left incomplete in color who have been barred from entering the castle. And living in the outer woods near the border of the frame are the "Sketchies", rough outlines of beings that are hunted by the Alldunns for mere sport.

The film is told from our lovely Lola's perspective, a Halfie whose best friend Claire, also a Halfie, who has fallen in love with an Alldunn, Ramo. When their love is discovered and tragedy strikes, Roma, Lola, and a Sketchie named Quill are driven to the perimeter of the painting where they believe their creator lies. When they leave the painting, their wonder and imagination doesn't live up to the reality that is in store.

As the film evolves moment-to-moment, and presents breathtaking animation, I couldn't help be in complete awe of what I was witnessing. Not only does the film breathe new life into a genre in desperate need of oxygen, it sets the bar high for all genres, both for children and adults, to challenge themselves with each new frame they present. It's pure magic on-screen.

Le Tableau feels like Toy Story if it had been directed by Terrence Malick in an Italian opera that was written by William Shakespeare. It's so profound and moving that your heart fills to the brim with adoration and marvel. Jean-François Laguionie and co-writer Anik Leray treat the viewers with respect, never being fearful to ask the tough questions and not play us as if we're all adolescents. The Painting challenges the inner-child in all of us to grow up. The depiction of Venice alone with orange, yellows and the brightest colors you can think of is one of the finest creations of the year.

The Painting is transcendental and unlike anything I've seen this year. It's not only the Best Animated films of the year but it's one of the best pictures of the year. Period. GKIDS continues to prove how they will become the quality-equal to Pixar Studios as they continue to push the boundaries and trust their innovation as filmmakers. Oscar should not think of voting on any category without seeing The Painting first. A true knock out!

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good animation. or religious film. original characters. and seductive lesson about art. it has different sides. but it remains a beautiful show. not only for the wonderful art, for the wise mixture of love, tension, mystery and crumbs of history, for references to literature and history, for the final meeting or for the status of parable. but for its admirable manner to translate emotions and realities and desires. for the game of events and for the need of certitude of characters. for idealism. and for the grace of details. a film who remains different. for the science to explore old things in the inspired light. nothing more. only a story, a trip and a revelation. few characters. and the questions. short, one of stories who remains seductive for the art to reuse old problems in the right style.