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Jean-Christophe Roger and Julien Chheng’s animated film Ernest & Celestine: A Trip to Gibberitia begins with Celestine the mouse (Pauline Brunner) excitedly waking Ernest the bear (Lambert Wilson) from a long hibernation. Their simple domestic ritual—she clambers up to the stove to prepare bowls of hot chocolate while he lumbers groggily downstairs to join her—is quietly enchanting thanks to the film’s expressive, elegant hand-drawn aesthetic.

The fact that the film’s two protagonists are such different sizes also allows A Trip to Gibberitia to explore each part of its lovingly crafted world from two distinct perspectives. Throughout, the filmmakers continually find creative ways for Celestine to traverse Ernest’s mountainous furniture while he blunders over everything in his path like a one-man slapstick show.

Ernest and Celestine’s happy domesticity is interrupted when the mouse accidently smashes the bear’s prized violin, leading them on an...

The French animated film "Ernest & Celestine: A Trip to Gibberitia" executes a music gag you wouldn't expect to be both world-building and silly. With the stoic seriousness of a concert professional, an anthropomorphic bear musician flexes his knuckles over a piano, as if prepping for Sergei Rachmaninoff's "Piano Concerto #2 in C Minor." But instead, he proceeds to plink the C-note repeatedly. There is no variation in the tune except a change in tempo. Then the editing expands the gag by revealing a payoff: the piano really only has one piano key. The crowd lauds his music. The lead bear and mouse, the eponymous Ernest and Celestine, are gobsmacked by this display of "music." At once, they learn the hard way that this country banned multi-note instruments. This gag best represents the family-friendly politics within the "Ernest & Celestine" sequel.

Dare I say the sequel might sing a better tune than the first?...