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Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

From the director of Kirikou and the Sorceress, this animated film, done in a CGI shadow puppet style, is about a brother and sister who, along with an elderly man they know, concoct movie scenarios. Six different fairy tale scenarios are illustrated. I've never actually seen any of the Kirikou films, but I've heard good things. This film doesn't inspire me to check anything else by Ocelot out. The visuals are quite gorgeous, don't get me wrong, but the screen writing is flat, boring and downright regressive. Five of the six stories have the boy as the hero saving the girl, who is a damsel in distress. The sixth one isn't particularly progressive, either. The version I watched on Netflix was dubbed in English by a group of British actors who are particularly boring. Skip it.

The film breaks into six separate adventures.Night of the Werewolf. Being a prince and a werewolf in the 15th century. Happy ending on this one; murderous deceit receives justice instead of monetary reward.Jon Jon and Beauty Not Knowing. On a Caribbean island, Jon Jon explores a deep cave which is the country of the dead. The only other living being is the princess whose name is Beauty Not Knowing. Jon Jon befriends the 3 monsters he was warned to kill. The father of the princess sets him three tasks. The 3 monsters help him through the final tests. Jon Jon goes back to his girl friend in the land of the living.The City of Gold. The Boy saves The Girl from being a human sacrifice, but at a cost.Tom-Tom Boy. Set in a village in the African bush. Everyone in the village tells Tom-Tom Boy to learn something useful, and to get lost in the meantime. He saves an old man's life out in the wild. This man is the custodian of the magic tom-tom, 'whose rhythms no one can resist.' He plays for the custodian, who teaches him to do more with it.The Boy Who Never Lied. Set in Tibet. Two king each wager half their kingdoms on whether or not the Boy can be made to lie. The princess volunteers to help her father get the Boy to lie. The Boy's horse speaks; the princess' mare can sing. The lying princess acts sick, and claims that she must eat the heart of his talking horse. The horse, Melonge, gives up his life so that his heart can be claimed. The Boy serves up the heart, but the princess leaves with the heart untouched. Ah, sadness. But the Boy and his king are rewarded, and the princess admits the vileness of what she has done.The Young Doe and the Architect's Son. Zachariac, the sorcerer, has a young ward, Maud, who falls in love with the architect's son, Thibault. Thibault climbs Zachariac's dread tower to rescue Maud. He encourages her to agree to marry Zachariac, with the understanding that Thibault will interrupt the process before it is complete. Thibault and Maud escape via a secret trapdoor in the cathedral. Zachariac renounces Maud, and changes her into a doe who only runs from Thibault. Thibault and his father's friend find the palace of a fairy ally of the architect. Can the complete the resolution? -----Scores-------Art/Animation: 10/10 Though only in one style, wonderful throughout.Sound: 10/10 No problems. Liked the incidental music.Acting: 10/10 Beautifully voiced.Screenplay: 10/10 Difficult and wonderful.

Tales of the Night is a 2011 French computer silhouette animation feature film directed by Michel Ocelot. I didn't see it in its 3D theatrical release... so no comment on that. A girl, a boy and an old cinema technician create stories using a machine. They then perform each story. The six stories are all clunky dialog clunky world culture tales.I likes some of the stories more than others. But for better or worst, they have the feeling of unsophisticated old fairy tales. The gimmick of the old cinema machine to lead into each story just isn't worth the time. And I have to say it diminishes the stories if they just make it up. It'd be better if they made it as some kind of cultural discovery like the Grimm brothers. The style of animation also don't give the facial expressions needed for emotional depths. But it gets some cool points and fits the simplistic stories.

Ocelot's toons have always had the unfamiliar (African) imagery working for them. Their naive plot lines have been both an attraction and a limitation.This episode film, framed with sessions in the re-voicing studio - where an owl is perched on the desk - are not a step towards more traditional work.The recognisable Ocelot style is here mixed with a bit of Lotte Reiniger and boosted by a fascinating use of Three D, which spaces the arms and eyes of the outline crowd at different distances from the viewer, among other effects. Was it ever shown anywhere else but the Paris Champs Elysses that way? Whether the makers can take this style further and how it will go down with the tot audiences, I've seen cheer the Kirikou films, has yet to be seen.