NYICFF ’19: Double Trouble

Pablo Picasso was so taken with Warsaw in 1948, he painted a very Picasso-like version the city’s mermaid symbol on a wall in a freshly constructed housing complex. Alas, the flat residents convinced the Communist Party philistines to let them paint over it in 1953. Poof, an original Picasso destroyed, except maybe not. The missing Picasso mural serves as the Macguffin in Marta Karwowska’s Double Trouble, which screens as part of the 2019 New York International Children’s Film Festival.

Old people are mean. That seems to be the takeaway from this film, but Julka really isn’t in a position to judge. She has never been particularly social herself. She was supposed to visit her mother and father in Canada during her boarding school’s summer vacation, but she is stuck cooling her heels at her not-so warm and welcoming Aunt’s Warsaw flat, until her parents can be bothered to arrange her tickets.

Initially, she doesn’t think much of Olek (and neither do we), but when thieves steal a set of rare architectural plans from her Aunt’s flat (it was sort of her fault), he is the only person available and willing to help her recover them. As they start nosing around, the kids discover the plans in question were for a now abandoned building that a gang of thieves has been tearing apart looking for a rather unusual treasure: the missing Picasso mermaid. Although presumed destroyed, Julka deduces her Aunt’s parents managed to save it, hiding it someplace in the building now scheduled for demolition.

Unfortunately, they are now in danger from the desperate gang of matronly biddies that have been ransacking the joint. To find the treasure, Julka and Olek (with his fuzzball doggie Meatball) will have to work together, but they are much more inclined to bicker, like a junior version of Tracy and Hepburn.

Double Trouble is a generally okay film, but it definitely skews towards a decidedly younger demographic. This is particularly true of the broad humor and the impossible-to-miss lessons to learn. Frankly, more mature viewers will be disappointed there is not considerably more exploration of the Picasso Mermaid’s backstory, because it is a clever use of some fascinating true-life cultural history.

Hanna Hryniewicka and Jakub Janota-Bzowski are perfectly fine as the two young busybodies, but they were clearly guided towards rather broad, unsubtle performances. That more or less goes for the adults as well. Double Trouble is the sort of film people think of when they hear a term like “children’s movie,” which is fine. However, NYICFF has a history of programming more sophisticated selections, such as Room 213, a ghost story produced for and starring kids that happens to be genuinely scary. Double Trouble cannot compare with it, but neither can 90% of the gory slashers released via VOD with little or no fanfare.

Technically, Double Trouble is quite an over-achiever. Cinematographer Kacper Fertacz and production designer Julia Junosza-Szaniawska make it much more atmospheric than it needs or arguably deserves to be. The older elementary school set should find it diverting, but Double Trouble will not make much impression on parents when it screens again tonight (3/3) and Saturday the 16^th, as part of this year’s NYICFF.

NYICFF ’19: Dilili in Paris

This would be the last period of extended international peace the world has known. In America, it was the “Gilded Age,” in England, the “Pax Britannica,” and in Paris, it was “La Belle Époque.” It was the height of France’s cultural and scientific prestige, so it is a heady time for a young Kanak girl to visit, but not everything is as rosy as the colorful art and fashions suggest. Fortunately, she turns into quite an adept amateur sleuth in Michel Ocelot’s Cesar-Award-winning animated feature Dilili in Paris, which screens during the 2019 New York International Children’s Film Festival.

The Parisian exhibition of Kanak customs might not look so progressive to us, but Dilili was determined to join it, so she could see Paris, even if she had to stowaway on the trans-ocean-liner, which she did. She dutifully does her time in what look like a zoo for people before sauntering off into the city. Frequently, her guide is Orel, a teenaged delivery-boy, who knows everywhere and everyone through his work.

Much to their concern, the cheerful duo gets wind of an ongoing criminal conspiracy perpetrated by the so-called “Master-Men.” They are committing all sorts of felonies, but most alarming has been the rising number of abductions—mostly young girls, but also some women. Naturally, they decide to crack the case, relying on Orel’s insider knowledge and Dilili’s earnest persuasiveness. Their investigation will bring them face to face with many of the era’s giants, including Toulouse-Lautrec, Renoir, Monet, Pasteur, Eifel, Satie, Madame Curie, and Sarah Bernhardt. Celebrated soprano Emma Calvé and anarchist activist Louise Michel will even sign on as their full-fledged partners-in-crime-[fighting].

Ocelot’s story is charming and empowering, making its points subtly rather than through didactic ranting. However, the real reason to see it is Ocelot’s stunning animation. He is a genuine virtuoso, but his recent Tales of the Night films, conceived and executed an homages to Lotte Reiniger’s cut-out style animation, feel like they were a little too easy for the maestro. With Dilili, he dives deep into his bag of tricks, combining the richly ornate detail of Azur & Asmar with photorealistic backdrops. In one remarkable scene, Ocelot perfectly renders Dilili’s reflection in a polished marble ornament—not because the narrative required it, but just for fun.

In fact, the intricate design elements of art nouveau are perfectly suited to Ocelot’s strengths as an animated filmmaker. He was clearly inspired by the art, fashion, and architecture of the period. Nearly every scene is a dazzler, often filled with sly visual references to famous works of art from the era. Plus, Gabriel Yared’s classy score further solidifies the elegant ambiance. Still, there is one thing. Nothing untoward ever happens, not even remotely, but Dilili is probably around six or seven years-old, whereas Orel is probably eighteen or so, which leads to some awkward visuals.

So, okay, whatever. The important point is how striking and sophisticated the animation is. Sequence after sequence proves Ocelot is master filmmaker, working at the peak of his abilities. It is a lovely piece of work, with a light and frothy spirit that goes down smoothly, like whatever they are drinking in Montmartre. Highly recommended for fans of highbrow animation, Dilili in Paris screens again this morning (3/2), next Saturday (3/9), and Sunday the 17^th, as part of this year’s NYICFF.

NYICFF ’19: Zog (short)

In Julia Donaldson’s fantasy world, it isn’t the damsel who is in distress. It’s the dragon. “Distress” might be too strong a word, but the trainee dragon has an awkward habit of getting himself dinged up. Fortunately, Princess Pearl is always happy to practice her bandaging and care-giving skills in Max Lang & Daniel Snaddon’s Zog, the latest animated short film adaptation of Donaldson’s children’s books from Magic Lantern and the BBC, which screens as part of the Shorts for Tots program at the 2019 New York International Children’s Film Festival.

Zog is the keenest of his class of dragons, but he is also the clumsiest. He yearns for recognition from the dragon head mistress, but he often gets carried away by his own enthusiasm. Through the machinations of fairy tale fate, the progressive Princess Pearl happens to be near whenever he has an owie. She doesn’t care that he’s a dragon and she’s a princess. If truth be told, she would much prefer to give up her sheltered royal life to become a doctor. In fact, they might be able to come to a mutually beneficial arrangement.

All of the Donaldson short films are cute and wholesome (The Gruffalos, Room on the Broom, The Highway Rat), but Zog is probably the most entertaining for genre fans, because of the way it gently subverts epic fantasy tropes. They will also appreciate the voiceover work of Kit Harrington (who clearly knows his dragons, from his work on Game of Thrones and in the recording booth for the How to Train Your Dragon franchise) as an equally klutzy knight who comes to “rescue” Princess Pearl.

Patsy Ferran’s warm and clear voice makes Pearl sound appealingly smart, confident, and upbeat, while Sir Lenny Henry serves as the hip narrator. Tracey Ullman supplies the voices of authority as Madame Dragon and Pearl’s governess, with Rob Brydon providing other miscellaneous voices, as he has in previous Donaldson shorts.

Zog is completely appropriate for youngsters, but some adults might honestly prefer it over the Shrek films (the obvious comparisons), because it is not constantly compelled to prove how cool and ironic it is. The Donaldson films are all quite nice, but this is one of the nicest (yet there is some rather subtle black humor peeking out here and there). Recommended without reservations for family viewing, Zog screens as part of Short for Tots, each Saturday and Sunday of this year’s NYICFF (2/23, 2/24, 3/2, 3/3, 3/9, 3/10, 3/16, and 3/17).

NYICFF ’19: Gordon & Paddy

Paddy is a mouse of mystery. She has no home, no profession, and no history. However, she has a keen sense of smell, so Gordon taps her to be his successor as police superintendent of the forest. The mouse and the toad will do some good police work together, but the shadow of the feared fox looms over every case in Linda Hambäck’s Gordon & Paddy, which screens during the 2019 New York International Children's Film Festival.

Paddy didn’t even have a name of her own until she met Gordon. It was not an auspicious first meeting. Technically, he collared her boosting a stray nut from a crime scene, but Gordon is no Javert. He is not about to bust someone for being hungry. He is also grateful to Paddy for digging him out of a snowdrift. Once he discovers how keen her sense of smell is, he recruits her to assist his investigation of the squirrel’s purloined winter cache of nuts.

Soon, he also starts to groom her to take over as the forest superintendent. Unfortunately, Paddy’s first solo case in her new position will be even more serious—and all signs ominously point towards the formidable fox.

G&P is an absolutely charming little (at 65 minutes, it is indeed little) film that will leave even the most cynical curmudgeons smiling from ear to ear. Hambäck’s animated film, based on a Swedish children’s book by Ulf Nilsson & Gitte Spee, is fully stocked with cute forest critters, but there are surprisingly high stakes to Paddy’s cases. Nevertheless, G&P has a pleasant, easy-going vibe that makes the film appropriate for kids of all ages.

Seasoned Gordon is also quite an old soul. Frankly, he is a more distinctive character than three-fourths of the stock figures we get in mainstream live-action movies. Stellan Skarsgård’s gruff but warm voice-over performance is absolutely pitch-perfect. Frankly, it is probably the best we have heard since Dominic West lent his silkily sinister voice to the Big Bad Wolf in Revolting Rhymes.

There is nothing particularly groundbreaking or daring about G&P, but every frame is a cheerfully winning viewing experience. Ironically, one of the most humanistic films you will see on the festival circuit this year is entirely about forest critters. Very highly recommended for families and animation fans, Gordon & Paddy screens tomorrow (2/23) at Scandinavia House, the following Sunday (3/3) at the Cinepolis Chelsea, and the Saturday after that (3/9) at the IFC Center, as part of this year’s NYICFF.