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jomble's review
adventurous
dark
funny
mysterious
medium-paced
- Strong character development? Yes
- Loveable characters? Yes
- Diverse cast of characters? Yes
- Flaws of characters a main focus? It's complicated
3.75
robin_dh's review
adventurous
challenging
dark
funny
lighthearted
mysterious
reflective
slow-paced
- Plot- or character-driven? Plot
- Strong character development? No
- Loveable characters? No
- Diverse cast of characters? Yes
- Flaws of characters a main focus? No
4.5
The city; a rusty stack of cages and stores turned forest built with literal dogshit already collapsed in on itself, a population festers within.
The art, Wilhelm Busch-like ink lines straggle over themselves synthesizing into tangibility, fully, vividly realizing De Crécy's fantastical world and its inhabitants. This infused with a masterfully constructed web of metallic watercolour, sickly gouache and lurid pastel, occasionally giving way entirely to a lucid, Breccian, Mattotti esque oily Fauvism.
The plot, a Roald Dahl style farce / consumerist satire taken to its logical conclusion, coupled with absurd, often nonsensical fantasy and supported by a sturdy, though bizarre, mythology/world-turned-metanarrative
Aside from that, De Crécy's use of film language/technique is pretty stellar, most frequent is his use of multi-angularity (a technique outlined in Stefan Sharff's the Elements of Cinema) but he also makes use of match cuts and a host of other techniques.
The art, Wilhelm Busch-like ink lines straggle over themselves synthesizing into tangibility, fully, vividly realizing De Crécy's fantastical world and its inhabitants. This infused with a masterfully constructed web of metallic watercolour, sickly gouache and lurid pastel, occasionally giving way entirely to a lucid, Breccian, Mattotti esque oily Fauvism.
The plot, a Roald Dahl style farce / consumerist satire taken to its logical conclusion, coupled with absurd, often nonsensical fantasy and supported by a sturdy, though bizarre, mythology/world-turned-
Aside from that, De Crécy's use of film language/technique is pretty stellar, most frequent is his use of multi-angularity (a technique outlined in Stefan Sharff's the Elements of Cinema) but he also makes use of match cuts and a host of other techniques.
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