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Song of the Sea (2014)

Cartoon Saloon’s second feature and the middle installment of Tomm Moore’s “Irish Folklore Trilogy” is a beautiful story that explores a plethora of Irish mythology including selkies, faeries and Celtic goddess, Macha. Song of the Sea follows human child, Ben who lives in a lighthouse on an isolated island with his father, Conor and younger sister, Saoirse. Still feeling the pain from his mother’s death six years prior when she died giving birth to Saoirse, Ben blames his younger sister for the tragedy and treats her badly because of it.

Marking Moore’s second directorial feature and based of a script written by Will Collins, Song of the Sea delves even further into Irish mythology than The Secret of Kells as Saoirse deals with her new identity as a selkie. As well as this, the film also explores the story of goddess Macha who has been turning faeries to stone. With Saoirse being the last of her kind, it is up to her and Ben to find her magic coat so she can sing releasing the faeries to they can travel to Tír na nÓg. There is a lot going on but not so much that elements are lost. The script does a fantastic job of tying the different plot points together.

As protagonist, Ben, David Rawle does a fantastic job of bringing the character’s conflicting feelings of pain and adventure. Ben fills his life with the stories he mother told him but he is terrified of the water and still feels the pain from his mother’s death. Only a young boy, he has a very black and white view on the world and this leads him to become stubborn in his ways. As the film unfolds, Ben begins to grow and develop a positive relationship with Saoirse. Despite being mute, Saoirse’s big vocal moment comes in the film’s beautifully climatic scene when she sings her song. Lucy O’Connell does a wonderful job thanks to her lovely singing which feels magical. Singing in both Irish and English and helping the spirits go to Tír na nÓg. Saoirse is such a lovable character throughout and when she finds her voice it is both emotional and exciting as this is where the magic comes to life.

In supporting roles, we see some of the cast take on two roles. Brendan Gleeson returns to Cartoon Saloon’s productions as father, Conor and mythological Mac Lir. As expected, he does a flawless job as the grieving father who struggles to bring up his children alone. His performance as Mac Lir is only small as we see flashbacks of him crying an ocean of tears as folklore dictates before being turned to stone. Using Gleeson for both voices is a clever choice as it allows the story to draw parallels between the magical world and reality as both characters experience grief through losing the one they loved. Fionnula Flanagan also performs dual roles as Granny and Macha. Again, there are similarities between these characters ad they are matriarchs trying to make life better for their children and grandchildren but don’t think through the consequences fully which creates the conflict in both the magical world and reality.

As expected with Cartoon Saloon films, the music plays an integral part. None more so than in this film where the plot is all about Saoirse reciting the song that will save the magical creatures. With a title like Song of the Sea, it was expected that the film was going to be full of wonderful music. Regular Cartoon Saloon collaborators Bruno Coulais and Kíla bring a world of excitement through their music, particularly with flute sounds and other woodwind instruments to reflect the sounds that would be heard through the shell. “The Song” track is among the best in any Cartoon Saloon film as it combines that magic and whimsy as Saoirse sings the song of the sea.

Overall, Song of the Sea is a film that will leave you wanting to know even more about Irish folklore and mythology. From the stunning animation to breathtaking music and the emotional storyline, this is a film that is sadly overlooked but is a major player in modern 2D animation. If The Secret of Kells helped to put Cartoon Saloon on the map then Song of the Sea ensured that it will be staying there for a long time.

What did you think of Song of the Sea? Let me know in the comments below!

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London Film Festival 2020: Roundup

With London Film Festival concluding today and all of my reviews done and dusted, I thought I would write this post to roundup my experience. Being my first film festival, I was so excited to be apart of something I have been a fan of for years. Looking at the lineup, it seemed that there were four major films: Steve McQueen’s Mangrove, Chloe Zhao’s Nomadland, Pete Docter’s Soul and Francis Lee’s Ammonite and I was determined to see at least two of these. Luckily I was able to see Mangrove and Ammonite on the screenings but sadly wasn’t successful in the ballot to see Nomadland and I don’t live in London to see Soul. However, I was thrilled with all the films I watched. I decided that my target was to watch 10 films and make them as varied as I could. In total, I watched 12 films and this includes documentaries, shorts, animation, drama, horror, foreign language, etc. There wasn’t one film that disappointed me and many standouts that I hope go on to receive award recognition and open new doors to create more films.

Overall, what stood out to me was the quality of the writing in the films I watched which was absolutely fantastic. The creativity and originality of the films I watched shows that the industry isn’t failing and there is room for films that push boundaries. From adaptations to original pieces, each film was so distinctive and unique that I was so pleased with how many well-rounded characters there were.

I thought it would be fun to come up with my personal winners from the Festival from the films I watched. As I previously said, there were no disappointments so this will be tricky. I have also added a special Shoutout category because the winner of this gave two brilliant performances and has clearly had a stellar year. I wanted to recognise this with their own special category.

Here are the Smaller Pictures Winners of London Film Festival:

Best Picture Wolfwalkers

Best Director – Tomm Moore and Ross Stewart for Wolfwalkers

Best Leading Actor – Riz Ahmed for Mogul Mowgli

Best Leading Actress – Tilda Swinton for The Human Voice

Best Supporting Actor – Fazlur Rahman Babu for The Salt in Our Waters (Nonajoler Kabbo)

Best Supporting Actress – Letitia Wright for Mangrove

Best Original Screenplay – Will Collins for Wolfwalkers

Best Adapted Screenplay – Pedro Almodóvar for The Human Voice

Best Documentary FeatureOne Man and His Shoes

Best Original Score – Jim Williams for Possessor

Best Song – “Running with the Wolves”, AURORA from Wolfwalkers

Best Cinematography – Stéphane Fontaine for Ammonite

Best Editing – Matthew Hannam for Possessor

Best Production Design – Tomm Moore, Ross Stewart and Maria Pareja for Wolfwalkers

Best Costume Design – Michael O’Connor for Ammonite

Best Hair and MakeupThe Human Voice

Special Shoutout Winner – Sean Bean for Wolfwalkers and Possessor

London Film Festival has given me some amazing memories and been a highlight of my year and a brilliant opportunity that I am so grateful for. I am also so excited to announce that I will be reviewing films from the upcoming Raindance Film Festival at the end of this month so my Festival journey hasn’t ended just yet!

So that’s it for my little awards section and roundup! Which film are you looking forward to seeing the most? Let me know in the comments below!

Just in case you want to read my reviews for the films, I have included them below. I really recommend watching all of them:

Ammonite

Farewell Amor

Herself

The Human Voice

Lovers Rock

Mangrove

Mogul Mowgli

One Man and His Shoes

Possessor

The Salt in Our Waters (Nonajoler Kabbo)

Siberia

Wolfwalkers

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London Film Festival 2020: Wolfwalkers

With Soul only showing at the BFI Southbank cinema at the London Film Festival, I was worried there wouldn’t be an animation for me to watch. When I saw Cartoon Saloon’s new feature Wolfwalkers on the list, I knew immediately that I had to watch it. Directed by Tomm Moore and Ross Stewart and based on a script by Will Collins, Wolfwalkers is a hand drawn animation set in 1650 in Kilkenny, Ireland. The film follows Robyn Goodfellowe (Honor Kneafsey), a young English girl who aspires to be a hunter and assist her father, Bill (Sean Bean) in killing the wolves that run wild in the local woods. With her trusted falcon, Merlin, at her side, Robyn encounters Mebh (Eva Whittaker) who is a wolfwalker, a girl who is human when awake and becomes a wolf when she is asleep. The film explores surface themes such as relationships between family and friends and identity in a new place but also digs deeper into topical discussions on caring for the natural environment and the oppression on Ireland by England. The result is a masterpiece that combines an array of design techniques in the animation and a story that will melt anyone’s heart. Much like fellow animation studio Studio Ghibli, Wolfwalkers is suitable for children and adults alike and is equally rewarding.

The animation style is extremely unique and contrasting between the two locations used. The busy town is structured with a neutral colour palette. A lot of greys and browns fill the landscape and the structure of the town itself feels very enclosed. There is also a heavy use of straight linework and outlining to highlight the trapped feeling of its inhabitants. This is contrasted with the more free-form approach to the woodlands which is full of swirls and curves. The initial outlining of the inhabitants of the woods and the trees and plants can be scene but the bright colouring and expressive scenery exacerbates the freedom that Robyn longs for. When seeing the world through the wolves’ eyes, the animation style is wispy and minimal. Everything in the landscape is greyscale and free-form but the living things have a particular bright aura colour that trails behind them. In an industry that mainly resorts to computer animation nowadays, its wonderful to see a studio that is revolutionising hand drawn animation in a way that is so captivating.

The characters of Robyn and Mebh are the central point to the story. Coming from completely different backgrounds, the two share a common feeling that they are alone. Robyn living in a new country and struggling to fit in under the new orders that come from her father’s new boss, the Lord Protector and Mebh being one of two wolfwalkers in the pack with the other being her mother, Moll (Marie Doyle Kennedy) who has gone missing. Robyn longs to be a hunter and free but is constrained by the sexist society that threatens to contain her whereas Mebh is an extreme example of this freedom. She is free to the point where she is lost and doesn’t know where to look for her mother. Together, the girls agree to help each other in the hopes of breaking free of the threats from the Lord Protector who hopes to burn down the forest and kill all the wolves in it.

The supporting characters are also given a fair share of screen time. Sean Bean does fantastic voice work as Bill in his signature Yorkshire accent we all know and love. Bill is a single father who is afraid of his superiors and does everything he can to protect himself and Robyn. Society has clearly knocked him down and he is unhappy with the life he has been given but keeps this from Robyn. The character arc from Bill being trapped in his own way to finding freedom is beautiful because he is so hesitant on whether he deserves that freedom and it’s such great character development. Mebh’s mother, Moll, on the other hand is not onscreen as much but she has an ethereal presence throughout the film as it is her magic that threatens the Lord Protector. Wanting her daughter to leave her when she is captured and move the pack to a new location shows her dedication to the preservation of the natural land and the safety of those in it. Also, the design for Moll and Mebh is astonishing with both donning a mass of red hair adorned with flowers and leaves.

The music in the film is breathtaking with captivating songs sung by folk group, Kíla, with a score composed by Bruno Coulais. Using instruments heard in traditional Irish folk music, the score and songs help to enhance the world and assists in setting the scene. There is also a song by Norwegian powerhouse, AURORA which is beautiful as expected. As any great score and song should, it elevates the film to create a rounded experience and it all flows perfectly with the visuals.

Thought-provoking and powerful, Wolfwalkers is a deeply impactful film that has elements of Ghibli in its morals and storytelling. The characterisation was fully rounded and the world of the film is realised to minute details. It’s a gorgeous and rewarding watch and I am so happy I made the choice to watch it. My favourite of the festival so far. I hope that Wolfwalkers continues its success into awards season as it definitely deserves to be among the Best Animated Featire category and is, so far, my favourite animation of the year so far.

Wolfwalkers will be released in the United Kingdom on 30th October so make sure you catch it.