Tales of the Night

To any one reading "I wonder what kids will think of this. Because they might be the main target audience for this." and wondering the same. I can say that in the showing I saw there were a lot of kids and many French kids. No one was talking, everyone in the room was taken in and concentrating - no one left for the toilet - the only time there was any movement or sound was when the kids (and adults) were laughing with joy - especially at the "tom-tom magie". Each story contained morels and some potentiality tough subject matter for children, but in a well balanced way. I saw a subtitled version - that was not 3D. A beautiful story for beautiful people of any age.

Tales of the Night is a 2011 French computer silhouette animation feature film directed by Michel Ocelot. I didn't see it in its 3D theatrical release... so no comment on that. A girl, a boy and an old cinema technician create stories using a machine. They then perform each story. The six stories are all clunky dialog clunky world culture tales.

I likes some of the stories more than others. But for better or worst, they have the feeling of unsophisticated old fairy tales. The gimmick of the old cinema machine to lead into each story just isn't worth the time. And I have to say it diminishes the stories if they just make it up. It'd be better if they made it as some kind of cultural discovery like the Grimm brothers. The style of animation also don't give the facial expressions needed for emotional depths. But it gets some cool points and fits the simplistic stories.

From the director of Kirikou and the Sorceress, this animated film, done in a CGI shadow puppet style, is about a brother and sister who, along with an elderly man they know, concoct movie scenarios. Six different fairy tale scenarios are illustrated. I've never actually seen any of the Kirikou films, but I've heard good things. This film doesn't inspire me to check anything else by Ocelot out. The visuals are quite gorgeous, don't get me wrong, but the screen writing is flat, boring and downright regressive. Five of the six stories have the boy as the hero saving the girl, who is a damsel in distress. The sixth one isn't particularly progressive, either. The version I watched on Netflix was dubbed in English by a group of British actors who are particularly boring. Skip it.

This is perfect for whoever wants to learn French. It's enunciated clearly and slowly, just like DuoLingo stories. The animation is silhouette style, like shadow play, but carefully done. The stories remind me of 1001 tales of Arabian nights, which were the entertainment of my childhood nights, so maybe I was seduced by the nostalgia, but I liked the show.

There is something that I disliked. The stories start from a point where three characters create worlds and stories using a computer and robot tailors and then they act out their fantasies. But I had no idea who these people were. It feels like you are dropped in the middle of something that you should have been aware of, but you're not. A fun premise to be sure, especially since it can entice a child to build their own stories or at least participate in something like that.

Also, I watched this on Netflix and for the life of me I don't understand why they would show it as a movie and not as a series. It is clearly composed of six independent stories, which would have been helpful to know before I started watching it.

Therefore my conclusion is that it is good to watch with your child, especially if you want to teach them the language, and I hope this review helps you to know that it's a collection of six separate stories and one doesn't have to spend an hour and a half to get to the end.

Ocelot's toons have always had the unfamiliar (African) imagery working for them. Their naive plot lines have been both an attraction and a limitation.

This episode film, framed with sessions in the re-voicing studio - where an owl is perched on the desk - are not a step towards more traditional work.

The recognisable Ocelot style is here mixed with a bit of Lotte Reiniger and boosted by a fascinating use of Three D, which spaces the arms and eyes of the outline crowd at different distances from the viewer, among other effects. Was it ever shown anywhere else but the Paris Champs Elysses that way? Whether the makers can take this style further and how it will go down with the tot audiences, I've seen cheer the Kirikou films, has yet to be seen.