The 100-Week Roundup covers films I still haven’t reviewed 100 weeks after watching them. Sometimes these are short ‘proper’ reviews; sometimes they’re only quick thoughts, or even just the notes I made while viewing.
This week’s selection, the final two films from March 2019, includes a pair of awards-worthy short animations — the first won an Oscar, the second was nominated for one. I was going to include more films in this week’s roundup (effectively bundle two weeks into one), but it felt like a disservice to this pair.
John Kahrs | 7 mins | Blu-ray (3D) | 1.85:1 | USA / silent | U / G
This Disney short was originally released alongside Wreck-It Ralph (and can now be found on that film’s Blu-ray; as well as on Disney+, I presume) and, as I recall, attracted a lot of praise at the time, primarily for its visual style. That was an innovation in creating 2D-looking animation via a 3D system — so it seems a bit daft that I watched it in 3D. I have to wonder if the added visual dimension highlights the underlying 3D animation, because it’s quite obviously been created in 3D with a 2D style over the top.
That said, it look gorgeous, however you cut it. There’s an inherent beauty in how it’s executed, while the chosen black-and-white style emphasises the apparent setting (’40s New York) and also gives it a timeless quality. The 2D/3D combination works well, giving it the fluidity and dynamism of CG animation, but with a certain roughness — a hand-made-ness — that comes from 2D cel animation. Of course, that’s artificial, injected via design choices (like scruffy outlines on the characters), but it feels authentic.
As for the actual story, it’s a charming little romantic number involving paper aeroplanes… until those sheets of folded paper become sentient and omniscient, at which point it lost me with its silliness. But as an exercise in style: lovely.
Ari Folman | 87 mins | TV | 16:9 | Israel, France, Germany, USA, Finland, Switzerland, Belgium & Australia / Hebrew, Arabic, German & English | 18 / R
“One night at a bar, an old friend tells director Ari Folman about a recurring nightmare in which he is chased by vicious dogs. They conclude that there’s a connection to their Israeli Army service in the first Lebanon War of 1982. Ari can’t remember that period of his life, so he meets and interviews old friends and veterans, hoping to discover the truth about that time and reconstruct his own memories of the conflict.” — adapted from IMDb
This search for the truth has led Waltz with Bashir to be labelled an “animated documentary”, which sounds like an odd idea, almost oxymoronic — you can tell a true story with animation, of course, but can you document something? Well, yes. Rather than talking heads, what animation allows is the visualisation of the narrators’ memories and dreams alike, and means we can flow between them, too. On a practical level, it allows the film to stage scenes that would be impossible in live-action without a huge budget, meaning it doesn’t have to compromise on the stories it tells. More thematically, having a shared style between ‘reality’ and ‘dream’, plus the distancing effect of it being drawn, not ‘real’ — of being unequivocally created, not just filmed — helps to underscore larger points about the reliability (or otherwise) of memory. The dreams are connected to the memories; are the memories a kind of dream?
Given the time period being remembered, of course the film is about war and how that affects the mind of its participants, but it’s also memory in general, I think. You’d think such extreme, unique experiences would be unforgettable, and yet the workings of the mind and memory aren’t that straightforward. One strand I found particularly fascinating was the way people are haunted by the suffering of animals in the conflict, perhaps more so than by the human-related atrocities they saw. Is this just a coincidence of the people Folman spoken to? Is it a particular interest of Folman himself? Or is it a genuine phenomenon? I don’t know the answer, but (outside of, say, War Horse) I don’t remember it being such a clear thread in a war-related film or documentary before.
I’ve seen people say they couldn’t connect with Waltz with Bashir because they didn’t know the history of the period well enough. Conversely, I felt that was part of why the film was so effective: not really knowing what was going on or what was being referred to, I was discovering it as the character did. Some parts along the way could perhaps have used further clarity or explanation for those of us entirely unfamiliar with the conflict, but there’s enough information disclosed to be going on with. I found the film’s ending to be powerful beyond words, and part of what makes it so shocking and impactful is not knowing about it, of learning about it for the first time with the characters.