151 reviews
Plunder what you will, it's well worth the effort and a very rewarding one at that. Your interpretations will vary depending on your own experiences but you will recognise many elements, mostly metaphorical in their nature, that you can reflect upon and align with your own sands of time. Enchantingly ascribed to the medium of film, it also teaches us that simplicity and less complex presentations can often remove distortions that more technical offerings inadvertently introduce. We are still only Hunter Gatherers at the end of the day, and at the start of all those subsequent days that follow.
Helpful•236
Since the Hollywood upgraded to the 3D animation, the rest of the world took over and given some incredible films in the last one and half decades. The Japanese animes are undoubtedly the best, but the European animation, particularly the 2D animation started to boom in the recent times with special mention goes to Tomm Moore. So basically I might miss some Hollywood animations, right now, but I'm very watchful over this kind of films. That's how I watched it, but anyway I would have seen it.
This is the director's first feature animation film, but he was known for his awesome short animations which one of them won him an Oscar. It was jointly produced by three countries, including Japan's Studio Ghibli. It's their first non-Japanese production and a great beginning and timing to expand the production in other continents. Especially after their legend, Hayao Miyazaki retired from the filmmaking.
The film was short like the 80 minute stretch without a single word spoken in its entire narration. There's no even sign language used, everything's actions and reactions. So you would find empty in the film's cast section which is kind of weird. I mean there are characters in the film, but all were imaginations without names and what year it takes place, where with so many questions like that. Basically to say, a film without the cast, but the crew members managed to give the best to the viewers to get it without any struggle.
One thing is for sure, that the film is very enjoyable. It is a fantasy film, so whatever you see, you have to accept it. Because that's how things happen in a theme like this, all fictional. Though, the first thing you have to keep in your mind is not the entire film was an hallucination event. There are some dreamy events and that's fine since the film character is coping with loneliness.
A man who had lost at sea, wakes up in a small island. It's a life supporting land mass with fresh water and fruits, but he also has to put some effort for fishing. His notion is to leave the island as soon as possible to go back to where he had come from, the civilised world. In his every attempt to sail with a raft he had made using bamboos, fails to cross after a certain stretch of the island coast. He later comes to know what stopped him and with an anger reaction he commits a mistake. So now he has to come out of the guilt and to do that he chooses what seems the right.
It was like a simple story without any meaning about everything that's shown in it. So in my entire watch I thought the same and said it was an okay film with great animation. But the ending changed my stance. That twist, I don't think everybody would understand. But one thing I want to make sure if you yet to see it, that it was about the purpose. The man always looks for a reason to do things and even to live or die. That's where the red turtle comes in.
Although my biggest question is, is this film a follow-up or in any way connected to the director's previous short animation 'Father and Daughter'? Because it seems the man who got lost in the sea is from that short film. But it never revealed the reason why he was stopped by whomever from return home. Also, both the conclusions syncs. It's just a my theory, so only the director can explain that.
I'm very sure this film is in the Oscars race. If it fails to make, then its not my prediction was wrong, but the Academy Awards people got it all wrong. I'm also sure it won't win as 3D animation dominated world, particularly 'Zootopia' 'Finding Dory' and 'Moana' are taking the first three frontrunner spots. Except the technical differences, only the grown ups can say this one has a better and meaningful story. It is very similar to 'Ponyo', but a grown-up's version. Anyway, it is a must see film, especially the adults and in particular those who always think animation is for children. If they see it, they might change their mind. Highly recommended!
8/10
This is the director's first feature animation film, but he was known for his awesome short animations which one of them won him an Oscar. It was jointly produced by three countries, including Japan's Studio Ghibli. It's their first non-Japanese production and a great beginning and timing to expand the production in other continents. Especially after their legend, Hayao Miyazaki retired from the filmmaking.
The film was short like the 80 minute stretch without a single word spoken in its entire narration. There's no even sign language used, everything's actions and reactions. So you would find empty in the film's cast section which is kind of weird. I mean there are characters in the film, but all were imaginations without names and what year it takes place, where with so many questions like that. Basically to say, a film without the cast, but the crew members managed to give the best to the viewers to get it without any struggle.
One thing is for sure, that the film is very enjoyable. It is a fantasy film, so whatever you see, you have to accept it. Because that's how things happen in a theme like this, all fictional. Though, the first thing you have to keep in your mind is not the entire film was an hallucination event. There are some dreamy events and that's fine since the film character is coping with loneliness.
A man who had lost at sea, wakes up in a small island. It's a life supporting land mass with fresh water and fruits, but he also has to put some effort for fishing. His notion is to leave the island as soon as possible to go back to where he had come from, the civilised world. In his every attempt to sail with a raft he had made using bamboos, fails to cross after a certain stretch of the island coast. He later comes to know what stopped him and with an anger reaction he commits a mistake. So now he has to come out of the guilt and to do that he chooses what seems the right.
It was like a simple story without any meaning about everything that's shown in it. So in my entire watch I thought the same and said it was an okay film with great animation. But the ending changed my stance. That twist, I don't think everybody would understand. But one thing I want to make sure if you yet to see it, that it was about the purpose. The man always looks for a reason to do things and even to live or die. That's where the red turtle comes in.
Although my biggest question is, is this film a follow-up or in any way connected to the director's previous short animation 'Father and Daughter'? Because it seems the man who got lost in the sea is from that short film. But it never revealed the reason why he was stopped by whomever from return home. Also, both the conclusions syncs. It's just a my theory, so only the director can explain that.
I'm very sure this film is in the Oscars race. If it fails to make, then its not my prediction was wrong, but the Academy Awards people got it all wrong. I'm also sure it won't win as 3D animation dominated world, particularly 'Zootopia' 'Finding Dory' and 'Moana' are taking the first three frontrunner spots. Except the technical differences, only the grown ups can say this one has a better and meaningful story. It is very similar to 'Ponyo', but a grown-up's version. Anyway, it is a must see film, especially the adults and in particular those who always think animation is for children. If they see it, they might change their mind. Highly recommended!
8/10
Helpful•4019
- Reno-Rangan
- Dec 24, 2016
- Permalink
Helpful•40
- Saif_Hindawy
- Dec 25, 2022
- Permalink
"The Red Turtle" is an animated film that left my entire family feeling quietly devastated without even being able to put our fingers on why.
With no dialogue, it traces the trajectory life takes for most people: starting out alone, finding someone to partner with, raising children, watching those children leave, and then saying goodbye yourself to the world. The film explores how things that can at first seem like barriers to happiness and contentment can eventually lead us to the things about life that we cherish most. It's not a film full of big, obvious emotions, but instead works a quiet and subtle spell. My eight year old was extremely attuned to the melancholy sadness of the film and spent a couple of minutes in tears afterwards. It gave us a good opportunity to talk about why the movie made him sad and to make him feel OK about having honest reactions to what are essentially the ups and downs of life.
Nominated for Best Animated Feature at the 2016 Academy Awards.
Grade: A
With no dialogue, it traces the trajectory life takes for most people: starting out alone, finding someone to partner with, raising children, watching those children leave, and then saying goodbye yourself to the world. The film explores how things that can at first seem like barriers to happiness and contentment can eventually lead us to the things about life that we cherish most. It's not a film full of big, obvious emotions, but instead works a quiet and subtle spell. My eight year old was extremely attuned to the melancholy sadness of the film and spent a couple of minutes in tears afterwards. It gave us a good opportunity to talk about why the movie made him sad and to make him feel OK about having honest reactions to what are essentially the ups and downs of life.
Nominated for Best Animated Feature at the 2016 Academy Awards.
Grade: A
Helpful•18213
- evanston_dad
- Jul 7, 2017
- Permalink
A man awakens adrift in the middle of the ocean. He is able to swim to a nearby remote island which is only inhabited by crabs, birds and a mysterious red turtle. This is the premise to the Michaël Dudok de Wit's first feature length film, a collaboration between French production studio The Wild Bunch and Japanese animation powerhouse Studio Ghibli. The result of this collaboration is a visually stunning and emotionally complex film.
De Wit explained after the screening that he loved the desert island stories he heard as a child but wanted to tell a different story than Robinson Crusoe. He was less interested in the mechanics of how a man can live on (or escape from) a desert island and more interested in how that man would feel. The practicalities of how the man would survive on this island are dealt with early on and in little detail. The island has fruit bearing trees and a pool of drinkable water at its centre. A very tense sequence early in the film sees the man fall into a crevice and swim the length of a claustrophobic underwater tunnel to escape. These sequences of peril are few. The majority of the film concerns the real interest of the director; what would keep a man on his island? What would he need to be happy there? De Wit explained his process as being very natural. He arrived at the premise and then wrote the story without a plan. He wanted something to keep the man on the island, something natural. He then settled on a giant turtle saying it just felt right. Not too cute, nor too animalistic. The effect of this writing style is that the film has a very dream like quality.
The animation is stunning. The island is rendered in lush colours. The realistic approach to character movements and environments makes the fantastical elements all the more spellbinding.
The director also mentioned symbolism in his discussion, hoping that it was clear. I must admit that if the film is a direct allegory then it's a little elusive. Perhaps it's a story about surrendering the instinct to escape one's circumstances and learning to embrace them. Or perhaps it's about not yearning to return to home but to make one for oneself. The man initially dreams of bridges leaving the island and string quartets appearing on the beach. As the man explores the wonders of the island he stops dreaming, discovering that the island has its own fantasies to offer. The deceptively simple story demands some thought but more significantly insists on being felt.
Other interesting details from the discussion with the director included the sudden contact from Studio Ghibli. Someone from the studio contacted him having seen some of his animated shorts. He was offered the chance to make whatever film he wanted. This, surely, is the impossible dream of all animators. He described the experience of working with the animation giant as incredibly rewarding, with their input and guidance allowing him to make a better film.
It is interesting to see the Ghibli elements within the film. Most noticeably, I think, the studio has influenced the wildlife seen on screen. Aside from the eponymous reptile, the man is joined on his island by a group of crabs. These crabs are drawn realistically but act anthropomorphically, functioning as comic relief. It's difficult not to recall the Soot Sprites from Spirited Away. However despite the whimsy of these crabs, they are still depicted as part of nature. They drag live fish away to be consumed and are themselves eaten by birds. The juxtaposition of the charms of nature with its horrors recalls the woodland scenes from The Tale of Princess Kaguya.
This is a very unique film. It has far less in common with stories like Castaway than its premise may suggest. Instead this is a fantastical exploration of what makes a person content with their surroundings. Fans of Michaël Dudok de Wit will appreciate the flawless transition he has made to feature film and fans of Studio Ghibli will find plenty of the magic and wonder they may be missing since When Marnie Was There.
De Wit explained after the screening that he loved the desert island stories he heard as a child but wanted to tell a different story than Robinson Crusoe. He was less interested in the mechanics of how a man can live on (or escape from) a desert island and more interested in how that man would feel. The practicalities of how the man would survive on this island are dealt with early on and in little detail. The island has fruit bearing trees and a pool of drinkable water at its centre. A very tense sequence early in the film sees the man fall into a crevice and swim the length of a claustrophobic underwater tunnel to escape. These sequences of peril are few. The majority of the film concerns the real interest of the director; what would keep a man on his island? What would he need to be happy there? De Wit explained his process as being very natural. He arrived at the premise and then wrote the story without a plan. He wanted something to keep the man on the island, something natural. He then settled on a giant turtle saying it just felt right. Not too cute, nor too animalistic. The effect of this writing style is that the film has a very dream like quality.
The animation is stunning. The island is rendered in lush colours. The realistic approach to character movements and environments makes the fantastical elements all the more spellbinding.
The director also mentioned symbolism in his discussion, hoping that it was clear. I must admit that if the film is a direct allegory then it's a little elusive. Perhaps it's a story about surrendering the instinct to escape one's circumstances and learning to embrace them. Or perhaps it's about not yearning to return to home but to make one for oneself. The man initially dreams of bridges leaving the island and string quartets appearing on the beach. As the man explores the wonders of the island he stops dreaming, discovering that the island has its own fantasies to offer. The deceptively simple story demands some thought but more significantly insists on being felt.
Other interesting details from the discussion with the director included the sudden contact from Studio Ghibli. Someone from the studio contacted him having seen some of his animated shorts. He was offered the chance to make whatever film he wanted. This, surely, is the impossible dream of all animators. He described the experience of working with the animation giant as incredibly rewarding, with their input and guidance allowing him to make a better film.
It is interesting to see the Ghibli elements within the film. Most noticeably, I think, the studio has influenced the wildlife seen on screen. Aside from the eponymous reptile, the man is joined on his island by a group of crabs. These crabs are drawn realistically but act anthropomorphically, functioning as comic relief. It's difficult not to recall the Soot Sprites from Spirited Away. However despite the whimsy of these crabs, they are still depicted as part of nature. They drag live fish away to be consumed and are themselves eaten by birds. The juxtaposition of the charms of nature with its horrors recalls the woodland scenes from The Tale of Princess Kaguya.
This is a very unique film. It has far less in common with stories like Castaway than its premise may suggest. Instead this is a fantastical exploration of what makes a person content with their surroundings. Fans of Michaël Dudok de Wit will appreciate the flawless transition he has made to feature film and fans of Studio Ghibli will find plenty of the magic and wonder they may be missing since When Marnie Was There.
Helpful•14026
- paul_a_salt
- Oct 18, 2016
- Permalink
I'm a big fan of survival films. In particular, J.C. Chandor's All Is Lost is my favorite film of the decade so far and it's with high praise that I say that The Red Turtle reminded me so much of it. The animation is simple, but it's perfect for this type of story. It's an amazingly written film. It understands the power of visual storytelling and it never loses our gaze. The music score is also perfectly integrated, composed and mixed with a real care for the quieter moments and it never overdoes anything (something that many dialogue-less films do). Animation or no animation, you become deeply invested in these characters. I can't recommend this film enough. I highly recommend it.
Helpful•3216
- Red_Identity
- Dec 19, 2016
- Permalink
There are times when you really start to question why the characters in 'The Red Turtle (2017)' aren't talking to one another, since they can vocalise (even shouting "hey" on occasion) and end up resorting to clumsy pseudo sign-language. The flick's allegorical nature falls slightly short on a couple of key contradictory points, too. This is a beautifully animated, wonderfully moving and somewhat poignant tale of a man's life and the unexpected turns it takes when he meets the eponymous turtle, though. It's touching, exciting, tense and intriguing stuff that usually shows just how powerful visual storytelling really can be. Even though, on occasion, it drags a little and starts to wade around in its own limitations slightly, it's still a wonderful and friendly picture. 7/10
Helpful•103
- Pjtaylor-96-138044
- Feb 27, 2018
- Permalink
As far as I know this is the first time the illustrious Studio Ghibli has cooperated with a director outside Japan. Still they gave it their trade mark detailed approach to the depiction of nature, and since the whole story is about nature, and about human beings as a part of nature - it counts. What we get is a fable/fairy tale, about a survivor-castaway getting to a deserted island with no human or other land in sight. And the surprising story of his life following that event. I don't do spoilers, and almost anything I could add would be a spoiler. So I'll limit myself to one more remark - the absence of dialogue works for this movie and in a way make this fantastic story more real. Words seem unnecessary as the story develops.
Though it's animation, it's not exactly made for children, but it could work very well for children viewing it. The auditorium in the Jerusalem Film Festival was packed with children and I didn't hear a single complaint.
Though it's animation, it's not exactly made for children, but it could work very well for children viewing it. The auditorium in the Jerusalem Film Festival was packed with children and I didn't hear a single complaint.
Helpful•8322
'La Tortue Rouge' aka 'The Red Turtle' is a rare film to find in this day and age of animated films. I say this not just because of its limited worldwide screenings, or due to it being a post Hayao Miyazaki Studio Ghibli film but because this is a feature length dialogue-less film.
Instead of relying on dialogue, 'The Red Turtle' uses the talented animators of Studio Ghibli to visually storytell this film. This is what keeps 'The Red Turtle' a float.
Positives:
Negatives:
In summary although gorgeously animated, what lets 'The Red Turtle' down is its story. Disappointing to say but at the end of the day no matter what film, STORY IS ALWAYS KEY. I personally believe this major issue would not exist if the runtime was cut to 30-40 minutes instead of the 80 minute runtime. That being said it is still an okay film for sure.
I give 'The Red Turtle' a 6/10 (slightly above average). I only recommend watching this film if you love to watch visually stunning animated films or just want to watch Studio Ghibli's latest art.
Instead of relying on dialogue, 'The Red Turtle' uses the talented animators of Studio Ghibli to visually storytell this film. This is what keeps 'The Red Turtle' a float.
Positives:
- Gorgeous stunning hand crafted animation
- Great visual storytelling
- Fun side characters (crabs)
- Thought Provoking
Negatives:
- Lacklustre plot
- Long runtime
- Forgettable film
In summary although gorgeously animated, what lets 'The Red Turtle' down is its story. Disappointing to say but at the end of the day no matter what film, STORY IS ALWAYS KEY. I personally believe this major issue would not exist if the runtime was cut to 30-40 minutes instead of the 80 minute runtime. That being said it is still an okay film for sure.
I give 'The Red Turtle' a 6/10 (slightly above average). I only recommend watching this film if you love to watch visually stunning animated films or just want to watch Studio Ghibli's latest art.
Helpful•5044
- billy-h-668-75323
- Mar 25, 2017
- Permalink
The movie is visually stunning and conceptually intriguing.
Animator Michael Dudok de Wit has had the improbable chance to make his feature-length debut in partnership with studio Ghibli, and with full artistic autonomy. The result is one hour and a half of purely visual narrative. A bold choice but with no doubt one that works out beautifully. The result is simple, fresh and beautiful, and definitely worthy of the Studio Ghibli stamp.
However, leaving the theater, I had the peculiar impression of having watched the world's longest short. It's an observation that's neither positive nor negative, at least I've been unable to define whether this is an accomplishment or a weakness. That is to say : the film might come off as a bit light, but at the same time, its single-topic approach is elegant and truly enjoyable to watch, and beautifully poetic in its way of finding big stories in the simplest of things.
Anyway, a debut that makes us very curious where Mchaël Dudok de Wit will take us in his future work.
Animator Michael Dudok de Wit has had the improbable chance to make his feature-length debut in partnership with studio Ghibli, and with full artistic autonomy. The result is one hour and a half of purely visual narrative. A bold choice but with no doubt one that works out beautifully. The result is simple, fresh and beautiful, and definitely worthy of the Studio Ghibli stamp.
However, leaving the theater, I had the peculiar impression of having watched the world's longest short. It's an observation that's neither positive nor negative, at least I've been unable to define whether this is an accomplishment or a weakness. That is to say : the film might come off as a bit light, but at the same time, its single-topic approach is elegant and truly enjoyable to watch, and beautifully poetic in its way of finding big stories in the simplest of things.
Anyway, a debut that makes us very curious where Mchaël Dudok de Wit will take us in his future work.
Helpful•9829
- ConcreteStereo
- Jul 7, 2016
- Permalink
Helpful•41
Had heard nothing but good things about 'The Red Turtle', including that it was nominated for a Best Animated Feature Oscar (up against very stiff competition with the likes of 'Zootropolis', 'Kubo' and 'Moana'). Also am an animation fan and saw that it had a Studio Ghibli co-credit, so high expectations were raised even higher.
Finally seeing 'The Red Turtle', there is not much else to add to what has already been said. While it is an unconventional film and will perplex some, 'The Red Turtle' is a beautiful film, in visuals, storytelling and emotions. It perhaps runs for a little too long in length, particularly when the story structure is somewhat more suited to a short film. Otherwise, 'The Red Turtle' is deserving of its praise and its Best Animated Feature Oscar nomination was a worthy one even when up against such stiff competition where all the nominees were very good to outstanding in their own way.
'The Red Turtle' is very beautifully animated. It's simple rather than elaborate or flashy, but this simplicity is done very elegantly and still boasts some exquisitely imaginative moments. The backgrounds are meticulous in detail and the colours are ethereal and bold. All the characters are drawn with taste too. The music score not only adds a lot to the storytelling and emotions, it even gives them a greater impact. There is a haunting atmosphere, whimsical energy and understated lushness to the music here, and the clever sound effects work well too.
A wordless, dialogue-free film (apart from the odd sound effect) 'The Red Turtle' may be, but that's not a strike against it. There are many instances of things resonating volumes without the use of words, this is true of 'The Red Turtle' with its wide and varying range of emotions conveyed poignantly and with a sense of wonder. No matter how slight the story structure, the atmosphere is so rich and the visuals such a feast for the eyes that to me the film never became dull. Loved the timeless fable/folk tale feel to the story as well.
From personal opinion, 'The Red Turtle' was one of the most emotional films of 2016, making me resonate with the profound subject matter and care for the charming characters. There is a little nail-biting drama, some fairly symbolic romance and the cycle of life story is profoundly engaging. The ending is very affecting, though will (and has done) perplex some, and the characters charm.
Overall, a thing of beauty. 9/10 Bethany Cox
Finally seeing 'The Red Turtle', there is not much else to add to what has already been said. While it is an unconventional film and will perplex some, 'The Red Turtle' is a beautiful film, in visuals, storytelling and emotions. It perhaps runs for a little too long in length, particularly when the story structure is somewhat more suited to a short film. Otherwise, 'The Red Turtle' is deserving of its praise and its Best Animated Feature Oscar nomination was a worthy one even when up against such stiff competition where all the nominees were very good to outstanding in their own way.
'The Red Turtle' is very beautifully animated. It's simple rather than elaborate or flashy, but this simplicity is done very elegantly and still boasts some exquisitely imaginative moments. The backgrounds are meticulous in detail and the colours are ethereal and bold. All the characters are drawn with taste too. The music score not only adds a lot to the storytelling and emotions, it even gives them a greater impact. There is a haunting atmosphere, whimsical energy and understated lushness to the music here, and the clever sound effects work well too.
A wordless, dialogue-free film (apart from the odd sound effect) 'The Red Turtle' may be, but that's not a strike against it. There are many instances of things resonating volumes without the use of words, this is true of 'The Red Turtle' with its wide and varying range of emotions conveyed poignantly and with a sense of wonder. No matter how slight the story structure, the atmosphere is so rich and the visuals such a feast for the eyes that to me the film never became dull. Loved the timeless fable/folk tale feel to the story as well.
From personal opinion, 'The Red Turtle' was one of the most emotional films of 2016, making me resonate with the profound subject matter and care for the charming characters. There is a little nail-biting drama, some fairly symbolic romance and the cycle of life story is profoundly engaging. The ending is very affecting, though will (and has done) perplex some, and the characters charm.
Overall, a thing of beauty. 9/10 Bethany Cox
Helpful•265
- TheLittleSongbird
- Oct 8, 2017
- Permalink
I don't regret seeing this, but I wouldn't have missed much if I hadn't.
Positive Spin: A long, beautiful moving painting. Presents a fable without imposing meaning or purpose, allowing you to find your own.
Negative Spin: A lot of beautiful pictures that don't communicate much. The characters say essentially nothing the entire movie. They don't express much non-verbally either, besides the most basic of emotions. Although there are scenes, there's essentially no plot. Inexplicable events occur, and are never explained. The movie ends abruptly with no closure.
Positive Spin: A long, beautiful moving painting. Presents a fable without imposing meaning or purpose, allowing you to find your own.
Negative Spin: A lot of beautiful pictures that don't communicate much. The characters say essentially nothing the entire movie. They don't express much non-verbally either, besides the most basic of emotions. Although there are scenes, there's essentially no plot. Inexplicable events occur, and are never explained. The movie ends abruptly with no closure.
Helpful•1917
- davidcshannon
- Nov 19, 2017
- Permalink
If you feel like getting sad, do watch this movie. Terrific movie to make your kids cry. The only positive thing is the beauty of the animation, but this is for adults not for kids to appreciate.
Helpful•115
- santi-15854
- Mar 7, 2021
- Permalink
- shamborovsky
- Mar 9, 2017
- Permalink
Helpful•70
"No man is an island entire of itself; every man is a piece of the continent, a part of the main . . . ." John Donne
Think you need all those material goods? Try being a castaway as in Dutchman Michael Dudok de Wit's animation,The Red Turtle. Like Tom Hanks in Cast Away, the nameless protagonist has little to work with, this time bamboo forest rather than a volley ball. And no dialogue, not even talking to himself.
As is clear from the figurative content, everyman may be an island yet needs happiness from the simplest possessions such as his ingenuity for survival and Nature. The unrealistic answer, despite the real challenges he has faced, is a companion given of the red turtle he upends. A little magic realism never hurts when you're alone.
The outline of the story has been told many times from Robinson Crusoe to Mosquito Coast with the newer Swiss Army Man and all marooned heroes in between. Yet this House of Ghibli animation, with the blessing of legendary animator Hayao Miyazaki, minimizes the details into simple survival, for which a branch or two and friendly Nature such as clowning crabs and tricky turtles make a difference, if you can be beloved by them.
The magical introduction of a mate into the equation certifies that community and love are essential for survival. Just let Mother Nature do her work.
She does, most often to the benefit of the survivors, but an occasional out of control set piece is here to say only so much of this sweetness can be tolerated. In one piece, nature takes a considerable toll on the island and its few inhabitants. Like Adam and Eve, the hero and his magical mate suffer under Nature's seemingly capricious temper.
Although the allegorical implications of harmony with nature are obvious in the film's minimal activities, it's the simplicity of the line and color design and the lack of dialogue that broadcast the need to strip us of our material load: simplify, simplify. Although we can't avoid the catastrophes Nature or human nature will bring to us, we will be happiest to be at one with Nature and ourselves.
The Red Turtle deserves its Oscar nomination and the experience of those with whom we share its beauty, young and old.
Think you need all those material goods? Try being a castaway as in Dutchman Michael Dudok de Wit's animation,The Red Turtle. Like Tom Hanks in Cast Away, the nameless protagonist has little to work with, this time bamboo forest rather than a volley ball. And no dialogue, not even talking to himself.
As is clear from the figurative content, everyman may be an island yet needs happiness from the simplest possessions such as his ingenuity for survival and Nature. The unrealistic answer, despite the real challenges he has faced, is a companion given of the red turtle he upends. A little magic realism never hurts when you're alone.
The outline of the story has been told many times from Robinson Crusoe to Mosquito Coast with the newer Swiss Army Man and all marooned heroes in between. Yet this House of Ghibli animation, with the blessing of legendary animator Hayao Miyazaki, minimizes the details into simple survival, for which a branch or two and friendly Nature such as clowning crabs and tricky turtles make a difference, if you can be beloved by them.
The magical introduction of a mate into the equation certifies that community and love are essential for survival. Just let Mother Nature do her work.
She does, most often to the benefit of the survivors, but an occasional out of control set piece is here to say only so much of this sweetness can be tolerated. In one piece, nature takes a considerable toll on the island and its few inhabitants. Like Adam and Eve, the hero and his magical mate suffer under Nature's seemingly capricious temper.
Although the allegorical implications of harmony with nature are obvious in the film's minimal activities, it's the simplicity of the line and color design and the lack of dialogue that broadcast the need to strip us of our material load: simplify, simplify. Although we can't avoid the catastrophes Nature or human nature will bring to us, we will be happiest to be at one with Nature and ourselves.
The Red Turtle deserves its Oscar nomination and the experience of those with whom we share its beauty, young and old.
Helpful•1614
- JohnDeSando
- Feb 14, 2017
- Permalink
This animation is visually stunning and imaginative with a relaxing soundtrack. Its slow pace and the near absence of sound effects is relaxing but the flip side is that it's somewhat soporific. This audiovisual lullaby seems longer than its running time of 1 hour 20 minutes. There was almost no dialogue, other than one word, "Hey", and minimal sound effects, such as waves lapping against the shore and birds tweeting.
I enjoyed the original plot, though it didn't logically hold together, for example the man not only didn't build a shelter or vessels to catch water but we only see him spearing one fish, he never eats the crabs or any of the turtles he encounters despite knowing how to start fires to cook them (though of course if he ate the giant turtle then the film would have to be a very different one to what we are shown).
I enjoyed the original plot, though it didn't logically hold together, for example the man not only didn't build a shelter or vessels to catch water but we only see him spearing one fish, he never eats the crabs or any of the turtles he encounters despite knowing how to start fires to cook them (though of course if he ate the giant turtle then the film would have to be a very different one to what we are shown).
Helpful•20
Helpful•60
- Johnny-the-Film-Sentinel-2187
- May 2, 2023
- Permalink
Helpful•2228
- discardedimage
- Oct 19, 2016
- Permalink
Helpful•40
- edsel-32472
- Jul 25, 2023
- Permalink
Helpful•1928
- TheOneThatYouWanted
- Feb 1, 2017
- Permalink
The way this illuminating and ethereal film captures the senses makes you wish to linger in each frame; approaching rain the only sound, stars and moonlight reflected in the calm sea, the comforting and rhythmic wash of waves at night, the endless shades and patterns of color and sunlight in water and emotions conveyed in just a glance.
A lone man washes up on a remote and uninhabited island shore after a shipwreck. He is resourceful, works his way out of perilous situations and manages to find fresh water, fish and breadfruit to sustain him. He builds a sturdy raft and launches it in the sea, yet a large sea turtle breaks the raft apart. The turtle seems to want him to stay on the island. In a moment of rage, the man attacks the turtle and unwittingly sets in motion something more powerful than he can imagine.
The Red Turtle is wordless, yet not soundless. Nature speaks instead, in all its wonder apart from the noise of civilization. We hear, among other things, the movement of figures in the grass, the preternatural buzz of cicadas in the trees, a storm sweeping over the forest, waves tumbling in rhythm upon the shore, curious crabs turning over objects in their claws and wind rising and falling like emotions or breath.
The tremendous power of the Red Turtle is in its exquisite artistry and the emotions it conveys. The art is surreal and realistic at the same time. Every frame is so detailed, expressive and colorful that I – a nature lover I admit – broke down in awe and wonder. That the filmmakers shared this sentiment for the natural world is clear. The light on island greenery positively glows, there is play between sun and shadows, and clouds move resplendent in the twilight like they are stars in their own show.
Human emotion is conveyed with just as much ability as that of nature. People talk without speaking. They know the feelings of others, by their manner and the look in their eyes, in an instant. Because of the film's amazing artists, the audience doesn't need to hear words to know what is going on. The artwork conveys the contents of hearts. It is a much better way to communicate really. We feel the man's remorse for wanting to harm a turtle that wanted to help him. Someone reaches out their hand and we feel the touch on our cheeks. We move our feet with the dance beneath the sea.
Above all, the Red Turtle clearly renders our deep connection to nature and to each other. It does this so well it brings tears. We witness nature in all its wonder and power. As with Native American art, the film artistry allows the audience to glimpse and understand the lives of animals.
The Red Turtle was made in collaboration with Studio Ghibli. The director maintained after the showing that Studio Ghibli placed enough trust in him that he had space and freedom to operate, yet also could turn to them for advice when needed. The director/studio partnership certainly found the right balance. North American premiere seen at the 2016 Toronto International Film Festival.
A lone man washes up on a remote and uninhabited island shore after a shipwreck. He is resourceful, works his way out of perilous situations and manages to find fresh water, fish and breadfruit to sustain him. He builds a sturdy raft and launches it in the sea, yet a large sea turtle breaks the raft apart. The turtle seems to want him to stay on the island. In a moment of rage, the man attacks the turtle and unwittingly sets in motion something more powerful than he can imagine.
The Red Turtle is wordless, yet not soundless. Nature speaks instead, in all its wonder apart from the noise of civilization. We hear, among other things, the movement of figures in the grass, the preternatural buzz of cicadas in the trees, a storm sweeping over the forest, waves tumbling in rhythm upon the shore, curious crabs turning over objects in their claws and wind rising and falling like emotions or breath.
The tremendous power of the Red Turtle is in its exquisite artistry and the emotions it conveys. The art is surreal and realistic at the same time. Every frame is so detailed, expressive and colorful that I – a nature lover I admit – broke down in awe and wonder. That the filmmakers shared this sentiment for the natural world is clear. The light on island greenery positively glows, there is play between sun and shadows, and clouds move resplendent in the twilight like they are stars in their own show.
Human emotion is conveyed with just as much ability as that of nature. People talk without speaking. They know the feelings of others, by their manner and the look in their eyes, in an instant. Because of the film's amazing artists, the audience doesn't need to hear words to know what is going on. The artwork conveys the contents of hearts. It is a much better way to communicate really. We feel the man's remorse for wanting to harm a turtle that wanted to help him. Someone reaches out their hand and we feel the touch on our cheeks. We move our feet with the dance beneath the sea.
Above all, the Red Turtle clearly renders our deep connection to nature and to each other. It does this so well it brings tears. We witness nature in all its wonder and power. As with Native American art, the film artistry allows the audience to glimpse and understand the lives of animals.
The Red Turtle was made in collaboration with Studio Ghibli. The director maintained after the showing that Studio Ghibli placed enough trust in him that he had space and freedom to operate, yet also could turn to them for advice when needed. The director/studio partnership certainly found the right balance. North American premiere seen at the 2016 Toronto International Film Festival.
Helpful•4226
- Blue-Grotto
- Oct 23, 2016
- Permalink
- datautisticgamer-74853
- Feb 10, 2017
- Permalink
I'm a fan of art-house and independent movies, and I generally look at what the critics say to make decisions about what I should watch. But once in a while there is a movie where my impression is so massively different from the 'received view' that I am baffled about what goes on in the minds of critics. RED TURTLE is just such a movie.
The story is seemingly simple: Shipwrecked guy stuck on on island wants to escape, builds a series of rafts, but gets held back by a gigantic red sea turtle. Eventually, the two develop a complex (and convoluted) relationship which is, to be honest, quite difficult to explain.
Let's start with the good things first. The imagery is truly beautiful. Lots of landscape shots of oceans, sunsets and the island. While the music, emphasizing string and piano tunes, is a bit generic, the minimalistic style is compelling and unique. The animation is so well done that the first appearance of the red turtle is a proper WOW moment. There are also some genuinely cute side characters, such as the hilarious little crabs that keep running up and down the beach. The pacing is generally done well, and the atmosphere of serenity that pervades the movie is persistent.
While I was impressed by the style of the animation and the mood, it was the seemingly fantastic (or metaphorical?) elements of the movie that just threw me off. I was constantly struggling whether the happenings are to be interpreted figuratively or literally. This is a very subjective judgment, but I personally could just not cope with that ambiguity. And I couldn't cope with the semi-spiritual elements of THE RED TURTLE. It's not that spirituality doesn't have it's place in cinema—but spirituality, metaphors, and all that... they need to serve a purpose! Whereas movies such as KUBO AND THE TWO STRINGS fail by hitting you with a blatantly obvious message over the head, this one goes the other end and shrouds everything in vague mysticism. But then, I left the theatre wondering what I should learn from this movie? What did they want to tell me? A dash of ambiguity is good because it keeps you thinking—but ambiguity is definitely best served in small portions. This one was hard to digest.
If there was a message, then I felt that the message too much emphasized traditional family values and actually was quite conservative in its depiction of gender relations. But here again different interpretations are possible because the movie never wants to commit to anything in particular.
Besides the pretentious mysticism, there are some obvious cliché moments. Romance is depicted with bright light and bodies floating into the sky—come on! And there's dream sequence after dream sequence—never a good way to progress a story!
Finally, I was wondering what the intended target audience was. Maybe THE RED TURTLE might appeal to some kids, but they will surely find a lot of the metaphorical content difficult to understand. And they may be put off by the slow pacing. For adults, the (suggested) messages may come off as trite and the fantastic elements as distracting. THE RED TURTLE tries very hard to be a meditation about love, nature, and all that. The 'everything is connected' and 'respect nature' themes are surely valuable if executed right.... but if these themes are left to mere allusions they become pointless. Mere mysticism without a resolution is not enough to fill nearly 90 minutes of playtime. A movie needs a clear goal and a clear progression of ideas— THE RED TURTLE has neither.
The story is seemingly simple: Shipwrecked guy stuck on on island wants to escape, builds a series of rafts, but gets held back by a gigantic red sea turtle. Eventually, the two develop a complex (and convoluted) relationship which is, to be honest, quite difficult to explain.
Let's start with the good things first. The imagery is truly beautiful. Lots of landscape shots of oceans, sunsets and the island. While the music, emphasizing string and piano tunes, is a bit generic, the minimalistic style is compelling and unique. The animation is so well done that the first appearance of the red turtle is a proper WOW moment. There are also some genuinely cute side characters, such as the hilarious little crabs that keep running up and down the beach. The pacing is generally done well, and the atmosphere of serenity that pervades the movie is persistent.
While I was impressed by the style of the animation and the mood, it was the seemingly fantastic (or metaphorical?) elements of the movie that just threw me off. I was constantly struggling whether the happenings are to be interpreted figuratively or literally. This is a very subjective judgment, but I personally could just not cope with that ambiguity. And I couldn't cope with the semi-spiritual elements of THE RED TURTLE. It's not that spirituality doesn't have it's place in cinema—but spirituality, metaphors, and all that... they need to serve a purpose! Whereas movies such as KUBO AND THE TWO STRINGS fail by hitting you with a blatantly obvious message over the head, this one goes the other end and shrouds everything in vague mysticism. But then, I left the theatre wondering what I should learn from this movie? What did they want to tell me? A dash of ambiguity is good because it keeps you thinking—but ambiguity is definitely best served in small portions. This one was hard to digest.
If there was a message, then I felt that the message too much emphasized traditional family values and actually was quite conservative in its depiction of gender relations. But here again different interpretations are possible because the movie never wants to commit to anything in particular.
Besides the pretentious mysticism, there are some obvious cliché moments. Romance is depicted with bright light and bodies floating into the sky—come on! And there's dream sequence after dream sequence—never a good way to progress a story!
Finally, I was wondering what the intended target audience was. Maybe THE RED TURTLE might appeal to some kids, but they will surely find a lot of the metaphorical content difficult to understand. And they may be put off by the slow pacing. For adults, the (suggested) messages may come off as trite and the fantastic elements as distracting. THE RED TURTLE tries very hard to be a meditation about love, nature, and all that. The 'everything is connected' and 'respect nature' themes are surely valuable if executed right.... but if these themes are left to mere allusions they become pointless. Mere mysticism without a resolution is not enough to fill nearly 90 minutes of playtime. A movie needs a clear goal and a clear progression of ideas— THE RED TURTLE has neither.
Helpful•6861