Screen: August TV Roundup

There's been a lot to watch this summer, squeezing episodes of TV series in between the movies and stage shows. It's been a nice combination of serious stuff along with less demanding entertainment. I'll start here with new shows, specifically the one that was the most unexpected fun...

Ride or Die
Hannah Waddingham and Octavia Spencer are having so much fun that it's impossible not to enjoy this freewheeling action comedy. As Debbie comes to grips with the fact that her best friend Judith is an assassin, they find themselves on the run across Europe, chased by the Albanian mob and various ruthless killers. Bill Nighy and Ed Skrein have notably strong supporting roles. And while the tone is resolutely jaunty, the show never shies away from the gruesome violence. So the story takes some very, very dark turns along the way, as it delves into Judith's shady past on its way to a showdown with an angry ex-colleague (Sylvia Hoeks). All of this is finely produced, shot in gorgeous locations with impressive action choreography that's genuinely intense. (Prime)

Tip Toe
Alan Cumming and David Morrissey star in this pointed drama from Russell T Davies, which we know from the start is heading to an unspeakable crime. They play long-time neighbours caught in a tense tug-of-war relating to friends and family. The title refers to how queer people must again lie low as society slides into right-wing bigotry. So it's very hotly charged, with riveting conversations and terrifying confrontations. Even if the writing isn't very subtle, the performances are. Cumming and Morrissey find fascinating complexities, as do members of the strong supporting ensemble. Jackson Connor gives a breakout turn as Morrissey's 16-year-old son. The themes are urgently important, but the story's so grim that it's not easy to watch. Or forget. (C4)

Widow’s Bay
This nutty series throws every creepy seafaring tale at a small community living on an island off the coast of New England. Despite growing up here, Mayor Tom (Matthew Rhys) somehow doesn't know any of this folklore and is thoroughly sceptical. Then everything starts happening to him at once. Everything is rather bonkers, with an offbeat pace and a surrounding cast of colourfully amusing characters. There's also a wide range of horrific nastiness on display, including a particularly grim episode set in the early 18th century. And with its haunted town premise, the show sometimes feels like a goofier variation on Stranger Things. So even if the various plot strands seem rather contrived, we wouldn't mind coming back for more. (Apple)

Spider-Noir
While you can choose to watch this in shimmering black and white or saturated colours, the main joy of this Spider-Man variant series is Nicolas Cage's woozy performance as Ben Reilly, a middle-aged private eye in a cartoonish 1930s New York. He's also secretly the Spider. He's such a broken mess that it's impossible to take our eyes off him, especially with Ben's earthy emotional chaos and a relentless charisma honed from watching vintage James Cagney movies. The back-story, revealed in extensive flashbacks, is far more engaging than the plot of this series. Likeable side roles include Lamorne Morris' snappy journalist, Karen Rodriguez as Ben's sassy secretary, Li Jun Li as the femme fatale and Brendan Gleeson's ruthless mobster. (Prime)

Not Suitable for Work
Created by Mindy Kaling, this New York comedy features two 20-something women living across the hall from three 20-something men, Friends-style, as they kickstart their careers. It may not feel terribly realistic, with money issues treated as a bit of a joke and career opportunities coming along right on cue, but the actors are terrific as they spiral around each other and pursue work in banking, journalism, acting and styling. Ella Hunt, Avantika, Will Angus, Jack Martin and Nicholas Duvernay have so much charisma and chemistry that we happily become involved in their amusing personal dramas. And the cast includes the terrific Jay Ellis, Constance Wu, Greg Germann and a hugely enjoyable Victor Garber, plus lots of starry cameos. (Hulu) 

Maximum Pleasure Guaranteed
A comical sensibility sits at odds with this violent thriller about a single mum entangled with a trail of dead bodies. The title is a tease because the first victim is a camboy, and while there are intriguing ideas in here about the messiness of divorcing couples and lingering desire, none of that is dealt with meaningfully. Still, it's played to the hilt, so Tatiana Maslany's central character Paula is such an idiot she's impossible to like, impulsively making everything worse with each decision and reaction. But then, if anyone in this show behaved like a real person, the murderous monster (a terrifyingly chilly Murray Bartlett) would be caught in episode 2. It's almost worth watching just for him, and the fabulous Dolly De Leon as a no-nonsense detective. (Apple) 

T H E   S A G A   C O N T I N U E S

Sugar: series 2
After pulling the rug out with a that season-finale twist, this noir mystery could only deepen. And these episodes are even more assured and focussed, produced with a cinematic liquidity that's pure heaven on-screen. Driving the coolest car on television, Colin Farrell gives a staggeringly smart, understated turn as the otherworldly John Sugar, a philanthropic private eye whose current case involves a boxer (Jin Ha), his wayward brother (Raymond Lee) and a deeply corrupt cop (Tony Dalton). But John's playing a longer game, working with old pal Tom (Shea Whigham), flirting with Charlotte (Laura Donnelly) and hiring an assistant (Sasha Calle). The stories unfold with a gorgeous attention to detail, constantly surprising us with lovely emotional resonance. (Apple) 

The Vampire Lestat: series 3
Previously titled Interview With the Vampire, this season finds a new musical vibe as it follows swaggering rock-god Lestat (Sam Reid) and his band on tour, dredging up stories from his past as he's interviewed for a backstage doc by journalist Dan (Eric Bogosian). Meanwhile, Louis (Jacob Anderson) is taunting Lestat, whose mother (Jennifer Ehle) arrives to spice things up. There's also a waitress who looks eerily like the late Claudia (Delainey Hayles). More outrageously over the top than before, and featuring several terrific original songs, this year's storyline is packed with enormous twists and astonishingly grisly violence, although the rowdy sexuality feels more strait-laced, so to speak. Still, the writing digs deeply into the characters, and the cast is well up for the challenge. (BBC)

Fake Profile
[Perfil Falso]:
series 3
Subtitled Killer Honeymoon, this Colombian potboiler kicks off its third season with the usual mix of sexy encounters, mysterious new characters and of course murder. The writing is even more absurd than before, largely because of the convolutions needed to keep things going. And the show's eye leans further into leery misogyny, featuring glistening tough guys and girl-on-girl action. It's also a guilty-pleasure, combining uber-sleek visuals with the trashiest plotting imaginable. Poor Camila (Carolina Miranda) is still at the centre, with her dubious boyfriend Miguel (Rodolfo Salas) and evil nemesis Angela (Manuela Gonzalez), somehow in the thick of the action even though police know that she's the mastermind behind all of this chaos. (Netflix) 

H A I L   A N D   F A R E W E L L

The Bear: series 5
The first nine episodes of this season are set over a single night, returning this series to its earlier style of storytelling, piling a range of outrageous situations onto a group of already frazzled characters, then watching them rise to the challenges. It's breathtaking to watch, because it's so superbly written and directed, and performed to perfection by this deservedly award-hoovering ensemble cast. The ninth episode is one of the very best in this show's extraordinary run, which is saying something, as everything comes to a head. Oddly, this leaves the final episode feeling a little disappointing, as it works overtime to wrap up each dangling plot thread in a way that isn't strictly necessary. And the final scenes are focussed on the wrong characters. (Hulu) 

Heartstopper Forever
Essentially a condensed version of the show's fourth season, there's a nicely cinematic quality to this film, which wraps up the series about teens grappling with issues around sexuality and identity. They're young adults now (led by the terrific Kit Connor and Joe Locke), so the film must strike a balance between childhood and more grown-up thoughts and feelings. And while the script tends to steer things in rather cute directions, there are darker and, yes, sexier things going on that make the story resonate strongly
(Netflix) ... FULL REVIEW >

Good Omens 3
Michael Sheen and David Tennant are back as an angel and demon who rather like each other, with the third season playing out in the form of an overstuffed 90-minute movie. The wacky antics continue, with the theft of the Book of Life throwing heaven, hell and earth into chaos. And then Jesus (Bilal Hasna) goes missing just before the second coming. As before, the goofiness contains rather a lot of existential intrigue, questioning the nature of good and evil, as well as humanity's need for supernatural explanations of earthly realities. There's a lot going on, not all threads are tightly tied, and quite a few details needed to be more fleshed out, as it were. But it's always great to see Sheen and Tennant having fun, and Derek Jacobi and Toby Jones too. (Prime)

I N   P R O G R E S S

I'm halfway through the 4th season of Ted Lasso (Apple) and Ryan Murphy and Bret Easton Ellis' The Shards (Hulu). Obviously these are very different shows, but Ted Lasso's smart brand of comedy continues to be utterly winning as he returns to England to coach Richmond's rising-star women's team. The ensemble cast is on peak form. And Murphy's uber-lurid approach feels a bit timid here, even as The Shards remains an entertaining slasher horror romp through an early 1980s drugs-and-sex-filled high school. I'm patiently awaiting for the press to be given the remaining episodes; full comments will be in the next roundup.

ALSO WATCHING: Star Trek: Strange New Worlds 4, One Hundred Years of Solitude, Sterling Point

GUILTY PLEASURES: The Traitors Canada, Race Across the World, Pop Culture Jeopardy, Funny AF

COMING SOON: Lanterns, Brothers, The Celebrity Traitors 2, Mobland 2, Chad Powers 2, The Gentlemen 2, Leanne 2, Adults 2

Previous roundup: JUNE 2026 > 

Critical Week: Smile for the camera

It's been a busy week for me, running around town watching movies and stage shows. It was fun to catch up with the hugely engaging characters for Heartstopper Forever, a strongly involving movie that caps the TV series with a nicely grown-up story, even if the writing is a little cute. Joe Locke, Kit Connor and friends are terrific. But basically this entire week has been about Christopher Nolan's massive adaptation of Homer's The Odyssey. I watched it on the huge BFI Imax screen, and it's thunderously entertaining, carrying a powerful thematic kick. The cast is also excellent, particularly Matt Damon, Anne Hathaway, John Leguizamo and Samantha Morton.

BEST OUT THIS WEEK:
Last First Time • The Odyssey
Heartstopper Forever
ALL REVIEWS >

There were also two superbly made big-budget biopics. From France, De Gaulle: Resistance is the first of two films about the iconic general-turned-politician, and it's a thrilling account of 1940-42 from an angle I'd never seen before. From Romania, The Yellow Tie traces the life of composer-conductor Sergiu Celibidache, another involving story I'd never heard. 

There was also a filmed version of Hadestown: The Musical, a terrific stage production (the original Broadway cast performing in London's West End) based on the myth of Orpheus, with catchy soulful songs. The British romance A Year in London is enjoyable but overwritten. From Nigeria, the action thriller Son of the Soil is rather chaotic, but also very watchable as it dives into a nasty underworld. From Mexico, the beautifully shot Last First Time is an inventive, provocative coming-of-age drama. There were two docs: Synthetic Sincerity is a playful look at the limits of AI, Brunello: The Gracious Visionary is essentially a lavishly produced two-hour advert for the Bruno Cucinelli fashion brand. And I saw two live stage performances: Blue Mist at the Theatre Royal Stratford East and Ali in Wonder(Eng)land at Jackson's Lane.

Coming up this next week, I'll be watching Hannah Einbinder in Teenage Sex and Death at Camp Miasma, Corey Feldman in Sour Party, the animated adventure Chickenhare and the Secret of the Groundhog and two docs: Ask E Jean and Knife: The Attempted Murder of Salman Rushdie.

Critical Week: Executive action

This has been a quiet week for press screenings, so I've enjoyed having some time to catch up on other things that have been pressing. It also helps that the weather has been sunny and nice, our first proper London spring in three years. The biggest film I watched this week was a bit of wishful thinking. In the action thriller G20, Viola Davis plays a no-nonsense US president fighting some nasty baddies. Essentially a revamped Die Hard, the movie is familiar and very silly, but also a solid guilty pleasure.

BEST OUT THIS WEEK:
Holy Cow • Warfare
ALL REVIEWS >

Other films this week included two offbeat music documentaries: Kevin Macdonald's One to One: John & Yoko follows a couple of pivotal years for the artists in protest-filled New York, adding a skilfully kaleidoscopic context to the music. And The Extraordinary Miss Flower is a beautifully swirling concoction exploring how Icelandic singer Emiliana Torrini was inspired by a letters that revealed another woman's passion-filled past.

There were also a few things outside the regular release schedule. I attended a terrific screening and Q&A for the new Black Mirror episode Hotel Reverie, with Charlie Brooker, Emma Corrin and others. It's a gorgeously surreal love letter to classic movie romance. I finally caught up with Pedro Almodovar's involving, beautifully made Western short Strange Way of Life, starring Pedro Pascal and Ethan Hawke as cowboys who can't admit they love each other. And I attended two stage shows: lockdown drama Jab at the Park and the raucous Jane Austen adaptation Plied & Prejudice at the Vaults.

This coming week, the films I'll be watching include Michael B Jordan in Sinners, the tennis drama Julie Keeps Quiet, Norwegian horror movie The Ugly Stepsister and the sailing documentary Wind, Tide & Oar.

Critical Week: Battle scarred

There were three big film screenings this week. The filmmakers and much of the cast turned up for the European premiere of Warfare, at which I had chats with Kit Connor (pictured), Will Poulter, Michael Gandolfini and D'Pharaoh Woon-A-Tai. Depicting an intensely gripping battle during the Iraq War, this is easily the best film I've seen so far this year. 

BEST OUT THIS WEEK:
Four Mothers • Freaky Tales
The Most Precious of Cargoes
ALL REVIEWS >

I also attended the UK premiere of The Amateur, attended by the filmmakers and Rami Malek, Laurence Fishburne and Caitriona Balfe. It's an engaging original thriller, but a little underpowered. And while the stars were at the premiere on the other side of Leicester Square, I was at a lively press screening of the enjoyably dopey A Minecraft Movie.

In addition, I caught up with Miguel Gomes' stunningly lyrical road movie Grand Tour and the entertaining, gripping and very offbeat British bad-neighbour thriller Restless. The 39th BFI Flare also wrapped up over the weekend with a number of films and a big party.

This coming week I have very few screenings in the diary for some reason. But I'll be watching Viola Davis in G20, the documentary One to One: John & Yoko and there are sure to be others.

Screen: December TV Roundup

This roundup is a few months late, as my autumn was sidetracked in all kinds of directions. I have still managed to watch the odd episode of a series here and there, so I've been slowly getting through things, especially in the run-up to the voting deadline for the Golden Globes TV categories (but it's impossible to see everything). As always, television is my therapy, a chance to relax from the more intense work of watching and reviewing films. Still, it's been great to see cinematic ideas and approaches in series this autumn, most notably in the first one here. Starting with new shows...

Disclaimer
Who would have thought that a pitch-black battle of wits between Cate Blanchett and Kevin Kline was what we always wanted on TV? Turns out that was gifted Mexican filmmaker Alfonso Cuaron, who put together this ripping dramatic thriller about grappling with past decisions and present-day accusations. Offbeat and unexpected, it continually flips the tables on its characters, with powerhouse performances from Blanchett and Kline, plus Sacha Baron Cohen, Leslie Manville and Kodi Smit-McPhee. With unusual nuance, the actors bring out dark themes in ways that are powerfully provocative. (Apple)

A Man on the Inside
Ted Danson reteams with The Good Place creator Michael Schur for this ingeniously designed comedy mystery based on the terrific 2020 Chilean documentary The Mole Agent. Danson is on top form as a man who goes undercover in a San Francisco retirement home to investigate a robbery. Residents are wonderfully played by veterans like Sally Struthers, Margaret Avery, Veronica Cartwright, Susan Ruttan, Stephen McKinley Henderson and John Getz. Cleverly, the show remains consistently funny and astute, while refusing to shy away from some surprisingly moving moments. (Netflix)

The Perfect Couple
A sudsy mystery set around a fabulously wealthy family in Nantucket, this show delights the audience with a series of snaky relationships between relatives. Essentially White Lotus Lite, the writing is never quite as surprising or tricky as it thinks it is, as everything is fairly obvious from the start. But the jagged editing makes sure that there are some great surprises along the way, and terrific scenes for the ensemble of terrific actors led by Nicole Kidman and Liev Schreiber as parents who aren't as oblivious as they seem to be. And the story's messier edges are rather good fun. (Netflix)

Monsters: The Lyle and Erik Menendez Story
In this third season of Ryan Murphy's anthology series, the notorious Menendez case provides plenty of juicy tabloid-style nastiness to hold the attention. And the central performances from Nicholas Alexander Chavez and especially Cooper Koch as the troubled siblings make it riveting. Stir in edgy turns from Javier Bardem and Chloe Sevigny as their (probably) abusive parents, Ari Graynor as their tenacious lawyer and Nathan Lane as too-involved novelist Dominic Dunne. It's a clever look at the questions between the lines, leaving us with a lot to talk about. (Netflix)

Agatha All Along
Kathryn Hahn gets her own Marvel spin-off with this sequel to WandaVision, as the witch Agatha meets a teen (Joe Locke in a nice break from Heartstopper) who holds a very dark secret. As they set off down the Witch's Road with a group of rivals including Aubrey Plaza and Patti LuPone, the plotting becomes a bit knotted and dense, but there's a light sense of humour that keeps the show fizzing along entertainingly. Indeed, the mischievous performances make sure that all of the witchy nonsense isn't as impenetrable as it feels. (Disney)

Kaos
Sunny and sparky, this energetic series puts Greek gods in the modern world, threatening the balance between their encampment on Mount Olympus, the humans on Earth and the residents of the Underworld. First a warning: this is one of those series that sets up something huge, then only delivers it in the final seconds of the final episode, leaving it all hanging on a potential second season, which sadly isn't happening. That said, it's a lot of fun to watch this talented cast play with the material, including Jeff Goldblum, Janet McTeer, Cliff Curtis, David Thewlis and especially Nabhaan Rizwan. (Netflix)

Time Bandits
Taika Waititi and Jemaine Clement adapted Terry Gilliam's sublime classic film into this scrappy series, considerably altering the premise to make everything much murkier. Strangely, the characters feel under-written and not particularly funny, especially the roles Waititi and Clement gave themselves (the Supreme Being and Pure Evil). Most surprising is how unsophisticated this feels, like a cheaply made children's TV show. Lisa Kudrow is enjoyable as the leader of a group marauding through time, and others have their moments. But it never quite grabs hold, and won't be back for another season. (Apple)

W E L C O M E   B A C K

Only Murders in the Building: series 4
Hilariously continuing to play with its premise, this series gets more intricate with each season. And this time our trio of podcasters (Steve Martin, Martin Short and Selena Gomez) has been pulled into the sphere of a blithely shifty Hollywood producer (Molly Shannon) who wants to make a movie about them starring Eugene Levy, Zach Galifianakis and Eva Longoria. Cue their hilarious pastiche performances from them and a crowded cast of big-name stars. Through it all, a murder propels them into another messy whodunit that twists and turns with each nutty episode. (Hulu)

Heartstopper: series 3
Things get a bit more intense in this season, as one of the main story threads centres on how Nick (Kit Connor) struggles to help Charlie (Joe Locke) get help to deal with his eating disorder. The issue is never simplified, so it gets genuinely dark along the way, and this adds a shadow over most of the other plotlines as well. So while this more serious edge kind of undermines the show's usual sweetness, it also allows it to grow up a bit and tackle something important and relatable. And the production and performances are terrific as always, with a superb role for Hayley Atwell. (Netflix)

Frasier: series 2
For its second season, this legacy series continues to complicate its inter-relationships, bringing back some favourite characters (most notably Peri Gilpin) while adding some depth to the new ones who have been introduced this time around. At the centre, Kelsey Grammer shines as the oblivious egomaniac shrink with a heart of gold. While Niles' absence is still sorely felt, as is any reference to Frasier's earlier life in Boston, the writing is sharp enough to keep us laughing. And the connections between these people are warm and involving, and funny too. (Paramount)

A N D   S O   I T   E N D S

Somebody Somewhere: series 3
Frankly, this is heaven in a television series, upending all of the usual sitcom cliches to depict the relationships between a group of almost staggeringly real people. At the centre is Bridget Everett's Sam, who still hasn't quite found her place amid her feisty sister (Mary Catherine Garrison) and goofy best friend (Jeff Hiller). So she can't see why a hulking new neighbour (Olafur Darri Olafsson) could like her as much as she likes him. Like a balm for the soul, this show makes you laugh, sigh and cry ugly tears of joy. And it reminds us how important it is to find our people. (Max)

The Umbrella Academy: series 4
For their final season, this makeshift bunch of siblings is trying to get back to their original timeline. Yes, multiverse nonsense abounds, as does yet another reality-ending plot. As tiring as that is, there's enough interest in the characters to keep us watching. They are also well-played by an ensemble that has grown very tight over the run of this series, and over these six rather annoyingly fragmented episodes they get to wrap up their various stories. It also helps to have Megan Mullally and Nick Offerman on hand as the antagonists. (Netflix)

Unstable: series 2
Rob Lowe is back as the nutty tech boss who is still navigating his relationship with his adult son (played by Rob's son John Owen Lowe). The whole show feels a bit too carefully constructed as a wacky workplace sitcom, but there are funny moments along the way, thanks to a cast that isn't afraid to look ridiculous. Both owes are terrific, and their good-natured banter is thoroughly entertaining, especially when augmented by the up-for-it supporting cast. Perhaps with a little more forward momentum, this show might have caught on with viewers and then returned for more. (Netflix)

Elite: series 8
For the last season of this Spanish show set in a prestigious private school, the writers have gone even darker than usual, as almost everyone is now indulging in some sort of criminality, often involving violence that's unusually grim. That said, the storylines are as sexy as always, even if the direction has a new coyness to it that throws the camp soapiness and lurid lustiness out of balance. This means that the actors have to scramble to keep their characters grounded in any sense of reality. But it just about works, and we'll miss this nutty, lusty, grisly mess when it's gone. (Netflix)

Snowpiercer:
series 4
Returning for its final season after a long break, this high-concept futuristic thriller immediately throws logic out the window. A fractured structure never quite makes sense, while characters have jolting personality shifts, most notably Daveed Diggs' leader Layton, who thoughtlessly jeopardises everyone with a personal quest. But then, none of the plot threads serves the characters very well, and the splintered approach keeps anything from gaining momentum, as it were. It's all so choppy, and such a bit let-down after the intelligent first three seasons, that I didn't make it to the end. (AMC)

GUILTY PLEASURES: The Great British Bake-Off, Strictly Come Dancing, Queer Eye, Drag Race (UK, Global All-Stars, Canada vs the World), The Circle, Selling Sunset.

NOW WATCHING (OR INTENDING TO): Squid Game 2, What We Do in the Shadows 6, Wolf Hall: The Mirror and the Light, Dexter: Original Sin, Black Doves, The Madness, The Day of the Jackal, Landman, The Sticky, Laid.

COMING SOON: The White Lotus 3, Severance 2, Zero Day, Prime Target, The Traitors 3.

Previous roundup: AUGUST 2024 > 

Kindness is a survival skill

An encounter with The Wild Robot
at Annecy Film Festival...

A quiet, absurdly picturesque corner of the French Alps has become the global epicentre of cinematic animation. The Annecy International Animation Film Festival is apparently now more import to studios than ComicCon for launching new projects, while its market is a buzzing hub for aspiring filmmakers from every corner of the globe. Amid a huge range of adventurous animation across the programme, big studio premieres this year included Pixar's Inside Out 2, Illumination's Despicable Me 4, Paramount's Transformers One and two from Netflix: Ultraman: Rising and The Imaginary. There was also short-format work featuring Pokemon, Snoopy & Charlie Brown, Porky Pig & Daffy Duck, Beavis & Butt-head, and Asterix & Obelix.

Sanders on-stage at Annecy

Fans in Annecy were especially delighted to see advance footage from a variety of forthcoming high-profile projects: Disney's Moana 2, Aardman's Wallace & Gromit: Vengeance Most Fowl, Roald Dahl's The Twits, Richard Curtis' That Christmas, Warner Bros' The Lord of the Rings: The War of the Rohirrim, Nickelodeon's Saving Bikini Bottom: The Sandy Cheeks Movie, Netflix's In Your Dreams, Skydance's Spellbound and DreamWorks' The Wild Robot.

It was this last title that brought me to Annecy for the first time, offering a chance to spend some time with writer-director Chris Sanders and his creative team. Sanders is an animation veteran involved in writing such Disney classics as Beauty and the Beast, Aladdin, The Lion King and Mulan. He also wrote and directed Lilo & Stitch, How to Train Your Dragon and The Croods. So it's fascinating to hear him and his cohorts call The Wild Robot the film of their career.

A shared passion

The Wild Robot certainly looks unlike anything we've seen before, with its delicately hand-painted brushstrokes layered together using technology. This creates a dazzling visual style that looks like an oil painting come to life.

A small group of journalists sat down to chat with the film's design team over breakfast on a sunny terrace overlooking Lake Annecy. Sanders begins by speaking warmly about the collaborative artists who have been assembled, and how they embody the spirit of this particular film. "I knew everyone's prior work," he says, "and the people we wanted were available! All of us trained as painters, so the computer is a pencil to us. And we gravitated to a story that doesn't have the obvious heroes and villains. It's about shades of emotions."

Visual effects supervisor Jeff Budsberg says this idea is reflected in the looser style of the imagery. "We wanted the endearing qualities of paintings, because they're more immersive," he says. "And it was important to let the animals be animals."

"I asked that the animals have animal eyes," Sanders notes, "because we usually default to human eyes for everything." This idea extends to using real animal skeletons to guide the structure of foxes, geese, bears, otters and more.

"The animation has to disappear, so you don't think about it," adds Jakob Hjort Jensen, head of character animation. "Because we have a lot of experience, we have more restraint. So we resisted throwing everything at the screen."

"It could have been much more stylised," agrees production designer Raymond Zibach, "but we wanted to find a balance, so we never broke the spell."

"It was important to develop a something specific for the movie," says head of look Baptiste Van Opstal, referring to how digital animation has tended to create a sameness in design and texture across many films, especially with skin, fur and water. "The image doesn't need to be a slave to the technology."

Indeed, The Wild Robot is a story about nature and technology finding a way to coexist. "But it has to be seen on a human level," notes producer Jeff Hermann. "And that's why we are all genuinely inspired by this project and Chris' vision for it."

"The crew has embraced the story completely," Sanders agrees, "and that's why the film is so good. It's thrilling to see audiences connect with the preview footage and see its differences."

"The way people react to the footage makes us know that we that we weren't crazy," says Zibach. "And those scenes still get me!"

A survival story

For a film that features few humans, the premise is unusually resonant, taken from the first in Peter Brown's trilogy of novels about the robot Roz (voiced by Lupita Nyong'o), who finds herself in a very unfamiliar place, a deserted island populated by lively animals.

"I love that Roz wakes up and has no idea what's going to happen to her," Sanders says.

"The opening sequence carries so much weight," says head of story Heidi Jo Gilbert. "It has to reveal key things about her journey as well as the dog-eat-dog nature of the forest. Then she's learning to hear and understand the hate the animals have for her, as well as the violence between them."

"It's important to have bittersweetness in stories for kids," says Jensen.

"That brutality informed the design," Zibach adds. "It's aggressive and sometimes deliberately uneven. It's was a challenge to get the balance right."

"Each sequence in the book has consequences," Hermann notes. "The key message throughout the story is that kindness is a survival skill." Once Roz unlocks their languages, the critters are voiced by an impressive voice cast including Pedro Pascal, Kit Connor, Catherine O'Hara, Bill Nighy, Stephanie Hsu, Ving Rhames, Matt Berry and Mark Hamill.

Set in the future, the time and place are intentionally vague, because they are seen through the eyes of the characters. But when they migrate, the geese see the world beyond the island. "It's just landscape to them," says Sanders. "But there are signposts for the audience about where and when this is taking place." As a teaser, one shot in the trailer reveals a submerged Golden Gate Bridge below the migrating geese.

Finding their voice

Working with Lupita to develop Roz was an art, Sanders says. "It involved experimenting, redefining and evolving," he says. "It couldn't be robotic or emotionless, but she starts more cheerful, and then changes as she begins to understand."

"It's like reverse peacocking," notes Jensen. "At the start, Roz is showing off her robotic abilities, but gradually she becomes more natural and connected."

Budsberg agrees that this shift is key to the story. "Roz changes imperceptibly from scene to scene," he says. "At first she looks like an alien metal being, then she gets more and more like the island. She is affected by the island, and she also makes an impact on it."

"They change each other," Sanders says. "It's all about being who they are and being vulnerable."

Some 20,000 people representing 103 countries attended Annecy Festival this year. The top prize went to Australia's Memoir of a Snail, directed by Adam Elliot, who previously won this award in 2009 for Mary & Max (and won an Oscar for the 2003 short Harvie Krumpet). And three other awards were presented to Flow, a feline odyssey by Latvian filmmaker Gints Zilbalodis.

For more information: ANNECY FESTIVAL >

photos by Marc Piasecki • with thanks to DreamWorks • 10-13.Jun.24