I LOST MY BODY ***
by Jérémy Clapin
Animation movie, 1 h 21
Of the three animated films selected at the Cannes Film Festival, I lost my body, presented at the Week of criticism, is undoubtedly the most singular, with its false airs of fantastic film and its real comedies of dramatic comedy.
His main character is nothing but a cut hand … who, by a miracle, comes back to life in the lab where it was kept and manages to escape to find Naoufel, the young man a little lost who it belongs.
In Cannes, the animation on an alternating current
Pizza delivery man with approximate punctuality, Naoufel is a sweet dreamer on whom fate has been striving since childhood. Tolerated by his adoptive family, he lets himself live, not knowing how to take control of his future. One night, while he is stuck in a building hall, the young man falls in love with Gabrielle, with whom he has only discussed through an intercom …
By a scholarly parallel editing, Naoufel and his hand seek to " dribbling fate And steer their course on tracks other than those leading to the inevitable siding. The young hero manages to get hired in the carpentry workshop of Gabrielle's uncle. As for her hand, she walks valiantly, braving pigeons, rodents and other motorized perils, while remembering the past shared with the rest of the body.
These tactile memories, evoked in flashbacks in black and white, add to an already complex narrative. But by the force of a fluid, limpid editing, probably well prepared by a solid and clear storyboard, the film never loses the viewer, guiding him to not lose his attention, despite a soundtrack a little invasive . The staging, alternately panting and meditative, combined with spectacular framing, does the rest. Not to mention an animation with a bluffing fluidity mixing the fragile trait of the cartoon and the realism of computer-generated images.
Lines of life
Adapted from a novel by Guillaume Laurant (Happy Hand, Seuil), a well-known screenwriter who worked on The fabulous destiny of Amelie Poulain, I lost my body has distanced himself from the book to tell a more intimate story.
Jérémy Clapin, a well-known filmmaker known for his animated shorts with a strange climate and characters who are ill at ease, likes to go through the body to stage the loneliness of marginalized people (Vertebral history) or mental illness (Skhizein).
In this first feature film – eligible for the Caméra d'Or – he delivers a poetic reflection on the notion of fatality. Or how the lines of destiny are not irremediably written in the palm of a hand …
(tagsToTranslate) animation (t) film review (t) Cannes Film Festival (t) Cinema (t) destiny (t) lost (t) body