La Tortue rouge

As far as I know this is the first time the illustrious Studio Ghibli has cooperated with a director outside Japan. Still they gave it their trade mark detailed approach to the depiction of nature, and since the whole story is about nature, and about human beings as a part of nature - it counts. What we get is a fable/fairy tale, about a survivor-castaway getting to a deserted island with no human or other land in sight. And the surprising story of his life following that event. I don't do spoilers, and almost anything I could add would be a spoiler. So I'll limit myself to one more remark - the absence of dialogue works for this movie and in a way make this fantastic story more real. Words seem unnecessary as the story develops.

Though it's animation, it's not exactly made for children, but it could work very well for children viewing it. The auditorium in the Jerusalem Film Festival was packed with children and I didn't hear a single complaint.

There are times when you really start to question why the characters in 'The Red Turtle (2017)' aren't talking to one another, since they can vocalise (even shouting "hey" on occasion) and end up resorting to clumsy pseudo sign-language. The flick's allegorical nature falls slightly short on a couple of key contradictory points, too. This is a beautifully animated, wonderfully moving and somewhat poignant tale of a man's life and the unexpected turns it takes when he meets the eponymous turtle, though. It's touching, exciting, tense and intriguing stuff that usually shows just how powerful visual storytelling really can be. Even though, on occasion, it drags a little and starts to wade around in its own limitations slightly, it's still a wonderful and friendly picture. 7/10

"The Red Turtle" is an animated film that left my entire family feeling quietly devastated without even being able to put our fingers on why.

With no dialogue, it traces the trajectory life takes for most people: starting out alone, finding someone to partner with, raising children, watching those children leave, and then saying goodbye yourself to the world. The film explores how things that can at first seem like barriers to happiness and contentment can eventually lead us to the things about life that we cherish most. It's not a film full of big, obvious emotions, but instead works a quiet and subtle spell. My eight year old was extremely attuned to the melancholy sadness of the film and spent a couple of minutes in tears afterwards. It gave us a good opportunity to talk about why the movie made him sad and to make him feel OK about having honest reactions to what are essentially the ups and downs of life.

Nominated for Best Animated Feature at the 2016 Academy Awards.

Grade: A

Had heard nothing but good things about 'The Red Turtle', including that it was nominated for a Best Animated Feature Oscar (up against very stiff competition with the likes of 'Zootropolis', 'Kubo' and 'Moana'). Also am an animation fan and saw that it had a Studio Ghibli co-credit, so high expectations were raised even higher.

Finally seeing 'The Red Turtle', there is not much else to add to what has already been said. While it is an unconventional film and will perplex some, 'The Red Turtle' is a beautiful film, in visuals, storytelling and emotions. It perhaps runs for a little too long in length, particularly when the story structure is somewhat more suited to a short film. Otherwise, 'The Red Turtle' is deserving of its praise and its Best Animated Feature Oscar nomination was a worthy one even when up against such stiff competition where all the nominees were very good to outstanding in their own way.

'The Red Turtle' is very beautifully animated. It's simple rather than elaborate or flashy, but this simplicity is done very elegantly and still boasts some exquisitely imaginative moments. The backgrounds are meticulous in detail and the colours are ethereal and bold. All the characters are drawn with taste too. The music score not only adds a lot to the storytelling and emotions, it even gives them a greater impact. There is a haunting atmosphere, whimsical energy and understated lushness to the music here, and the clever sound effects work well too.

A wordless, dialogue-free film (apart from the odd sound effect) 'The Red Turtle' may be, but that's not a strike against it. There are many instances of things resonating volumes without the use of words, this is true of 'The Red Turtle' with its wide and varying range of emotions conveyed poignantly and with a sense of wonder. No matter how slight the story structure, the atmosphere is so rich and the visuals such a feast for the eyes that to me the film never became dull. Loved the timeless fable/folk tale feel to the story as well.

From personal opinion, 'The Red Turtle' was one of the most emotional films of 2016, making me resonate with the profound subject matter and care for the charming characters. There is a little nail-biting drama, some fairly symbolic romance and the cycle of life story is profoundly engaging. The ending is very affecting, though will (and has done) perplex some, and the characters charm.

Overall, a thing of beauty. 9/10 Bethany Cox

A man awakens adrift in the middle of the ocean. He is able to swim to a nearby remote island which is only inhabited by crabs, birds and a mysterious red turtle. This is the premise to the Michaël Dudok de Wit's first feature length film, a collaboration between French production studio The Wild Bunch and Japanese animation powerhouse Studio Ghibli. The result of this collaboration is a visually stunning and emotionally complex film.

De Wit explained after the screening that he loved the desert island stories he heard as a child but wanted to tell a different story than Robinson Crusoe. He was less interested in the mechanics of how a man can live on (or escape from) a desert island and more interested in how that man would feel. The practicalities of how the man would survive on this island are dealt with early on and in little detail. The island has fruit bearing trees and a pool of drinkable water at its centre. A very tense sequence early in the film sees the man fall into a crevice and swim the length of a claustrophobic underwater tunnel to escape. These sequences of peril are few. The majority of the film concerns the real interest of the director; what would keep a man on his island? What would he need to be happy there? De Wit explained his process as being very natural. He arrived at the premise and then wrote the story without a plan. He wanted something to keep the man on the island, something natural. He then settled on a giant turtle saying it just felt right. Not too cute, nor too animalistic. The effect of this writing style is that the film has a very dream like quality.

The animation is stunning. The island is rendered in lush colours. The realistic approach to character movements and environments makes the fantastical elements all the more spellbinding.

The director also mentioned symbolism in his discussion, hoping that it was clear. I must admit that if the film is a direct allegory then it's a little elusive. Perhaps it's a story about surrendering the instinct to escape one's circumstances and learning to embrace them. Or perhaps it's about not yearning to return to home but to make one for oneself. The man initially dreams of bridges leaving the island and string quartets appearing on the beach. As the man explores the wonders of the island he stops dreaming, discovering that the island has its own fantasies to offer. The deceptively simple story demands some thought but more significantly insists on being felt.

Other interesting details from the discussion with the director included the sudden contact from Studio Ghibli. Someone from the studio contacted him having seen some of his animated shorts. He was offered the chance to make whatever film he wanted. This, surely, is the impossible dream of all animators. He described the experience of working with the animation giant as incredibly rewarding, with their input and guidance allowing him to make a better film.

It is interesting to see the Ghibli elements within the film. Most noticeably, I think, the studio has influenced the wildlife seen on screen. Aside from the eponymous reptile, the man is joined on his island by a group of crabs. These crabs are drawn realistically but act anthropomorphically, functioning as comic relief. It's difficult not to recall the Soot Sprites from Spirited Away. However despite the whimsy of these crabs, they are still depicted as part of nature. They drag live fish away to be consumed and are themselves eaten by birds. The juxtaposition of the charms of nature with its horrors recalls the woodland scenes from The Tale of Princess Kaguya.

This is a very unique film. It has far less in common with stories like Castaway than its premise may suggest. Instead this is a fantastical exploration of what makes a person content with their surroundings. Fans of Michaël Dudok de Wit will appreciate the flawless transition he has made to feature film and fans of Studio Ghibli will find plenty of the magic and wonder they may be missing since When Marnie Was There.