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The tradition of the silent animated movie is one that is worth preserving. There is something about that approach to the medium that leads itself to compelling magic. It’s somewhere between the innocence we attach to animation, to the efforts animators have to make to keep us interested. It’s probably connected to the comic strip tradition of telling stories with no dialogue and letting the emotion be conveyed by the strip. And yet, it’s a tradition that remains not that common, precisely because it’s so hard to pull it off. 

So, call us fortunate that in the past two years we saw two worthy examples of this type of animated film. In 2024 we had Pablo Berger’s unique and heartbreaking Robot Dreams, about the determined friendship between a dog and his robot companion. This year we are graced with Flow, a Latvian production about a cat and his ragtag animal companions, surviving in a post-apocalyptic world. There are no humans in sight. No dead bodies and no signs of destruction. Just abandoned buildings and pets, and an ever-increasing sea line that threatens to cover the planet. 

For the cat and the other animals, this is just another obstacle in the survival game. The water rises up until it takes the cat’s forest cottage, and they find refuge in a drifting boat with a lazy capybara inside. The goal is to reach these towering peaks they can see in the distance. On the way they collect partners for their endeavour – a hoarder lemur, a hostile Secretary Bird, and a friendly labrador.  

And that’s it. Flow keeps its plot to the simplicity of its premise, and with a short runtime of only 85 minutes, it does not overstay its welcome. It’s to the point, poetic, very pretty, and immeasurably charming. There is no sense of evil in this desolate world (because of course there isn’t, there aren’t any humans). It’s a planet without inflicted tragedy except the overbearing, but sometimes necessary, cruelty of nature. All the animals behave like animals should behave – I mean, not completely, there’s some sentience in them, but it revolves around the excepted behaviour of an animal – so there is no need to an antagonist. The world is unforgiving and beautiful, and we wouldn’t have it any other way. 

Director Gint Zilbalodis does a great job developing the personality of his characters and their world. The camera constantly revolves around them to make us aware of the vast expanse that surrounds them, but never feels oppressive. He uses the CGI for his own benefit – since the technology is there, why should he have to pretend to make static shots? It gives him liberty to swirl around the characters. Instead of cutting to a reaction, he moves us closer or further away, changing the depth of focus as he sees it, like a giddy kid playing with his mother’s camera phone. 

The drawback of this is that it never feels as contemplative as I would like. There is a sense of Ghibli-like wonder and peacefulness, but Ghibli movies (especially the ones by Hayao Miyazaki and Isao Takahata) add a visual artistry and observation that Zilbalodis’ style doesn’t lend itself to. Compare it to Michaël Dudok de Wit’s impossibly gorgeous The Red Turtle, another silent animated picture (produced by Takahata), that uses its painting-like static issues to enhance the isolation of its protagonist. Zilbalodis wants to inject more action with his frenetic style, but he doesn’t stop when the story and the characters are asking him to. 

None of that changes the pleasure of watching a film like Flow. It deservedly won the Academy Award for Best Animated Feature, and it indicates Zilbalodis as a filmmaker to follow with close attention. It reminded me of how it felt the first time I saw a Nick Park or an Adam Elliot. 

Verdict: 4 out of 5
For fans of animation and people with little ones who are eager for a world outside of Disney. This is simple, effective, stunning storytelling that inspires.

Ticket giveaway – Oh, Canada

LSJ Online and Transmissions films have 10 double passes to give away to OH, CANADA, a film starring Richard Gere, Uma Thurman and Jacob Elordi, opening nationally in cinemas on March 27

Fiery but feeling his years and his illness, ailing filmmaker Leonard Fife (Richard Gere) wants to tell his life story, unfiltered, before it’s too late. As the director of lauded documentary exposés, he has much to be proud of, but his avoidance of the Vietnam War draft and his past relationships harbor thorny truths. Finally choosing to reveal the truth and lies in his life and career, Leonard sits for an extended filmed interview with his former student Malcolm (Michael Imperioli), charging ahead with candid stories about his younger self (Jacob Elordi) in the fractious 1960s and beyond. At Leonard’s insistence, his wife and indispensable partner, Emma (Uma Thurman), hears it all. Leonard’s successes are held up against his failings–the fibs held up against the facts–and as the man in full is cleansed of the myth, Leonard must confront what is left. Watch the trailer here.

For a chance to win one of the passes, email journal@lawsociety.com.au with the subject line OH, CANADA before 10pm on Tuesday March 25.

Ticket giveaway – Looney Tunes: The Day The Earth Blew Up

LSJ and Pinnacle Films have 10 double passes to offer for the upcoming animated feature Looney Tunes: The Day The Earth Blew Up.

Looney Tunes’ first fully-animated movie sees legendary comedic duo, Porky Pig and Daffy Duck, become Earth’s only hope when their antics at the local bubble-gum factory uncover a secret alien mind-control plot.   Packed with laugh-out-loud moments and stunning visuals, this sci-fi romp delivers a whole new level of fun for fans old and new!  In Cinemas March 27 through Pinnacle Films.

For a chance to win one of the passes, email journal@lawsociety.com.au with the subject line LOONEY TUNES before before 10pm on Tuesday March 25.