As a film with a message Dilili in Paris works for all ages, and it's flaws are well papered over by layers of charm and whimsy. The mix of reality and fantasy, and the simplicity of the lead character, create their own world, but one in which the 'baddies' are clearly delineated and reflective of evils we still face. A fun film, but one with a point to make.
Monday, 30 December 2019
Dilili in Paris, French Film Festival, Dominion
A computer generated fantasy set in Belle Époque Paris, the characters rendered in a naive style that emphasises the simple tale of god and evil portrayed. Dilili is a French/Polynesian child who radiates a positive goodness and a sensitivity to wrong. In partnership with her delivery-boy friend Orel she gets drawn into solving the mystery of young women disappearing. The plot is eventually revealed as one of Gilead-level misogyny, but along the way director Michel Ocelot shoehorns in a whirlwind tour of the BÉ cognoscenti whereby Dilili meets and converses with some of the the most recognisable names of the period. The Curies, Monet, Eiffel, Proust and many more are all there.
As a film with a message Dilili in Paris works for all ages, and it's flaws are well papered over by layers of charm and whimsy. The mix of reality and fantasy, and the simplicity of the lead character, create their own world, but one in which the 'baddies' are clearly delineated and reflective of evils we still face. A fun film, but one with a point to make.
As a film with a message Dilili in Paris works for all ages, and it's flaws are well papered over by layers of charm and whimsy. The mix of reality and fantasy, and the simplicity of the lead character, create their own world, but one in which the 'baddies' are clearly delineated and reflective of evils we still face. A fun film, but one with a point to make.
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