ANNECY 2023: Kensuke’s Kingdom Review
There is a small but vocal faction of animation fans who lament the death of 2D animated features. The subject of documentary and debate both online and in person, the conversation always seems to boil down to a point that if it isn’t made in Hollywood it might as well not exist. Waiting or campaigning for Hollywood to create 2D animation on a large scale is a foolish enterprise fuelled by nostalgia, you might as well campaign Charlie Chaplin’s corpse to bring back black and white silent comedy. However those who need their fix of high quality, feature length, 2D animation need look no further than our own rainy island and to north London where you’ll find Lupus Films.
© Lupus Films
Kensuke’s Kingdom is the latest film to come from the studio behind Ethel & Ernest as well as TV Specials such as The Tiger Who Came to Tea and We’re Going on a Bear Hunt. Adapting another classic, this time the much loved book of the same title by Michael Morpurgo, Kensuke’s Kingdom is helmed by Neil Boyle, director of The Last Belle and Kirk Hendry who directed Junk. Though neither are strangers to working in feature this marks the duo’s first foray into the world of feature direction.
Adapting a classic novel is always going to come with expectations. For those unfamiliar with the story we are eased in gently and introduced to a loving family of Mum, Dad (voiced by Sally Hawkins and Cillian Murphy) and big sister Becky (Raffey Cassidy) surrounding our rebellious pre-teen Michael (Aaron MacGregor), who is finding it difficult to adjust to his new life at sea as the family set sail around the world. The voice cast create a lovely warm atmosphere for viewers and though the book is set in a specific time and place there is a timelessness to the way the story is set up. Mum and Dad losing their job and choosing to sail around the world could be a story about now, it could also be a story about 30 years ago. What matters is that it feels instantly inclusive and engaging.
© Lupus Films
Pining for his old dog Stella we soon learnt that the shaggy sheepdog has been secretly stowed away by Michael, who spends his time sneaking away supplies to the captive canine. There are moments of “Chekov’s gun” during this sequence, when Michael hides away biscuits and tests a magnifying glass which will clearly be used for starting fires later in the film but it’s all set up so nicely, and if you hadn’t seen any of the promo or knew the story from the book then Stella as a stowaway might event surprise you. The dangers of life on board a boat are ramped up until a huge storm washes Michael and Stella into the ocean.
This sequence really has your heart in your mouth and is the first of many. Using the scale of the screen the imposing ocean lifts and swells in a terrifying way and keeps you on the edge of your seat. If you had believed this to be a friendly jaunt, that notion has literally been washed away. It’s at this point that the film opens up further.
© Lupus Films
An island is now Michael and Stella home. After some initial self taught survivalist routines and just before the sequence becomes too much “Castaway Jr” we are introduced to Kensuke, who hooks the audience in further with his presence. After beginning as a standoffish character, stopping Michael from lighting fires and setting boundaries, the naivety of Kensuke’s new resident soon leads the old man to form a necessary protective bond with the boy and he begins to bring a modicum of comfort to Michael as he shows him the world which he shares with the islands Orangutans. Comfort is never assured, which gives the film a drive. Poachers threaten the environment and bring danger to the situation driving home an environmental message in a heartbreaking way. The relationship between Kensuke and Michael burns slowly and they both evolve as the drama unfolds, learning from one another and experiencing through one another’s eyes, sharing hope, friendship and more. Flashbacks to Kensuke past, produced in a beautiful ink wash style are heart wrenching and shape our understanding of the mysterious Kensuke. Likewise Kensuke’s lessons turn Michael from something of a naive brat into a character that you root for.
The art style and animation brings both a realism and a fantasy edge to the presentation. There is a humanity behind the eyes of the apes, and the animated acting performed excellently which is to be expected when you read the credits list and see the animators who worked on it and take into account Boyle’s own background as Richard Williams go-to animator. Whilst an argument could be made that this film could have been created in live action, the film is lifted through illustrated approach and being able to immerse in the nuanced motion of the characters and feel welcomed into their animated world. The lavishly detailed environments create a depth to the island that makes you feel like you could walk into it. Animal characters and human character alike both look and feel like they have been expertly studied. Of the many standout animated moments there is one where the sun sets and young Orangutan Kakambo playfully wanders across the screen with the glorious dusk glowing behind them, lighting up the scene with colour. It’s a treat for fans of the process as well as a charming beat to the story enabling the audience to bask in the ambience but also soak in the incredible animation. This is the work of masters of their craft. This is why it the film is animated.
Kensuke’s Kingdom will thrill, charm and leave your heart soaring. A loving adaptation skilfully accomplished by the best people working in animation today. The ill informed might proclaim that 2D animation is dead, maybe, just maybe, it’s hidden from view on an island like Kensuke, ready to share it’s warmth and riches with you if you just give it a chance.
Kensuke’s Kingdom is due to be released sometime in 2023.