scifirenegade (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
scifirenegade) wrote2025-05-04 02:02 pm
scifirenegade) wrote2025-05-04 02:02 pm
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3D4D - One Film: War Is Hell Edition
I, um, fricked up. So let me make up for posting that fic elsewhere.
Nayola is based on a play by José Eduardo Agualusa and Mia Couto. About three women: the grandmother who encourages (and regrets it) her son-in-law to join the civil war, the mother who spends years and years away, searching for her seemingly dead husband, and the daughter who was left behind and becomes an activist and musician (and his targeted by the police).
It jumps back and forth from the 90s to the present day, and to help illustrate that, the film is both 2d-animated (for the past) and 3d-computer-animated (for the present-day). There are sequences that employ some sort of mixed media (Nayola briefly becomes a live-action/animation hybrid in actual historical footage for a scene). The 2d animation is beautiful, the backgrounds especially. With just a few strokes, they paint a complete, textured, vibrant and yet muted environmemt. Cities are destroyed and dull, but in nature, the colours are saturated, even when there's characters dying. The 3d animation is (and I'm saying this with much love in my heart) similar to early 2000s point 'n' click games.
And it works! The character designs, which don't change across the entire film, are highly stylised (I was going to say they had a French quality to them, and yep, film was co-produced with France).
And the "camera" work is so dynamic. There's this sweeping, low shot as Nayola and (oh damn, I forgot his name, but he knew Nayola's husband), along with the rest of the crew, are being gunned down by a plane, and person after person are dropping like flies and it's gut-wrenching.
There's this exchange between an uncle and nephew fighting for opposite sides that's so simple. Or that, despite Yara's (Nayola's daughter) seeming disconnected from her mother, she still clings to her diary. And she's fighting for a freerer country, in her own way. She raps. She may also be queer (I saw the pin on her rucksack).
The voice cast was solid, but the sound mixing on the copy I watched was a bit odd in the beginning (still love you RTP).
Yet, there's something esoteric about it. It's hinted throughout the film, and then it goes all out in the ending. I'm not quite sure what happened. I'm not familiar with the OG play. I don't think that's a bad thing.
2022 was they year of the full-length animated Portuguese film. This, alongside Os Demónios do Meu Avô were both great! And it pains me to know barely anyone has seen them.
Unless it's a crass comedy, Portuguese films (point) get limited releases in very specific theatres that not everyone has access to. And don't get me started on home media releases! Demónios still hasn't had any sort of release (had to watch it through the film renting thing built in on cable), and Nayola just so happened to be screened on my lovely RTP (our state-owned TV channel chain).
What I'm saying is, more money needs to be invested in culture here.
Nayola is based on a play by José Eduardo Agualusa and Mia Couto. About three women: the grandmother who encourages (and regrets it) her son-in-law to join the civil war, the mother who spends years and years away, searching for her seemingly dead husband, and the daughter who was left behind and becomes an activist and musician (and his targeted by the police).
It jumps back and forth from the 90s to the present day, and to help illustrate that, the film is both 2d-animated (for the past) and 3d-computer-animated (for the present-day). There are sequences that employ some sort of mixed media (Nayola briefly becomes a live-action/animation hybrid in actual historical footage for a scene). The 2d animation is beautiful, the backgrounds especially. With just a few strokes, they paint a complete, textured, vibrant and yet muted environmemt. Cities are destroyed and dull, but in nature, the colours are saturated, even when there's characters dying. The 3d animation is (and I'm saying this with much love in my heart) similar to early 2000s point 'n' click games.
And it works! The character designs, which don't change across the entire film, are highly stylised (I was going to say they had a French quality to them, and yep, film was co-produced with France).
And the "camera" work is so dynamic. There's this sweeping, low shot as Nayola and (oh damn, I forgot his name, but he knew Nayola's husband), along with the rest of the crew, are being gunned down by a plane, and person after person are dropping like flies and it's gut-wrenching.
There's this exchange between an uncle and nephew fighting for opposite sides that's so simple. Or that, despite Yara's (Nayola's daughter) seeming disconnected from her mother, she still clings to her diary. And she's fighting for a freerer country, in her own way. She raps. She may also be queer (I saw the pin on her rucksack).
The voice cast was solid, but the sound mixing on the copy I watched was a bit odd in the beginning (still love you RTP).
Yet, there's something esoteric about it. It's hinted throughout the film, and then it goes all out in the ending. I'm not quite sure what happened. I'm not familiar with the OG play. I don't think that's a bad thing.
2022 was they year of the full-length animated Portuguese film. This, alongside Os Demónios do Meu Avô were both great! And it pains me to know barely anyone has seen them.
Unless it's a crass comedy, Portuguese films (point) get limited releases in very specific theatres that not everyone has access to. And don't get me started on home media releases! Demónios still hasn't had any sort of release (had to watch it through the film renting thing built in on cable), and Nayola just so happened to be screened on my lovely RTP (our state-owned TV channel chain).
What I'm saying is, more money needs to be invested in culture here.
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