and won the top prize in Critics’ Week. In its finished form, director Jérémy Clapin’s peculiar undertaking is even stranger than it sounded to me half a decade earlier, and yet, there’s no question he’s pulled it off. In fact, I’d hazard to say it’s one of the most original and creative animated features I’ve ever seen: macabre, of course — how could it be otherwise, given the premise? — but remarkably captivating and unexpectedly poetic in the process.
Eased ever deeper by Dan Levy’s mesmerizing score , audiences gradually discover that Naoufel is a Moroccan orphan whose parents died in a car crash, and who moved to Paris, where he worked as a lowly pizza delivery boy until such time as he met Gabrielle , a hipster Gen-Z librarian who gives his life purpose. Crippled by shyness — but not yet handicapped by — he follows Gabrille to her uncle’s carpentry studio, spontaneously asking for work as an apprentice.
As further memories flood back — of Naoufel’s hand fumbling through piano lessons, feeling the breeze through an open car window — the reanimated limb faces daunting challenges in the present. Taken for granted in its time, but now driven as if by instinct , the hand hitches a ride via stray pigeon, snapping the bird’s neck when done. It’s understandably freaked out by the escalator that leads down to the subway, where it grabs a fallen lighter to defend itself against the feral rats.
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