In a world dominated by uniformity and the flattening of technical and artistic criteria, Flow stands out as an independent production, both in terms of content and form.
Flow has been marketed to us as a film made in Blender, which has been able to knock down animation giants like Dreamworks. And I wonder if that’s true. It seems so, although it’s inexplicable.
It is possible that ordinary people have already realized that animated films today are always the same, with slight changes in packaging. They are also made by the same artists who move from studio to studio. The rehashes are like covert remakes of bits and pieces here and there in the style of Frankenstein, the same movie over and over again, with the same fart and burp jokes. There’s no doubt that they are heavy and impressive contraptions, but I find myself wondering more and more often what has become of the artist’s voice?, where the creator’s motivated spirit is when it is swallowed, chewed, and spat out by the production chain.
The case of Flow has surprised many. Although it kicked off in Cannes, where they ALWAYS anticipate what’s worth seeing. Today I was finally able to open my diary and go to the cinema. A sad morning screening with three people and lots of adverts before the film. How long do movie theaters have left? Not long, as it is still a declining minority who go to the cinema, vestiges of another era.
After watching the film, I thought the occasion deserved a few lines. It is undoubtedly a masterful film. More than a film, it is a kind of virtual tour through a video game world. However, the setting, music, and animation are of such a high standard that it instantly becomes a classic. Characters with personality and a new way of telling stories. Without a doubt, Flow transparently communicates what is happening and goes beyond that, leaving an internal, abstract interpretation that gives rise to debate. Spectacular sequence shots conceived in a totally immersive way.
On a technical level, although the characters are a little poor aesthetically, the sets and water simulations are incredibly realistic. The animation is excellent and paves the way for a more natural animated cinema, without the overacting and clichés that have dominated the medium for the last decade. The script is nothing special, but its development is refreshing enough to be viewed positively, with its Miyazaki-esque ecological touch, but with enough personality to have its own identity.
The director is certainly to be congratulated for this pure and inspiring approach. Flow will set a precedent, for better or for worse.
