Silence in a film can be very powerful. It is an important tool in the filmmaker’s toolbox . Moments where not much happens can raise tension, but are also able to express emotion. Just think of Wall E, where the most powerful and emotional part was where there wasn’t any dialog. The same was the case for Up. Both movies were made by Pixar and together with Studio Ghibli (en Disney) belong to the best in animation. They are studios which not only manage to touch the hearts of children, but also have something deeper which appeal to older viewers. Unfortunately the future of Ghibli is uncertain. Both founding members have retired (although one temporarily returns) and there is no way of telling if the studio will release something in the future. So I was happy when I heard they would be releasing The Red Turtle. The fact that this movie wasn’t made in Japan, makes it a very special one.
The director of this film is Michael Dudok de Wit, who won an Oscar in 2001 for his short Father and Daughter (which is also a movie without dialog). Because of that short he was approached by Ghibli with the question if he was willing to make something for them, which has resulted in The Red Turtle. With this 80 minute film he has managed to deliver something which is impressive. A beautiful story (also without dialog) with amazing imagery which is about a man who has to survive on an island by himself. The attempts he makes to escape seem to be doomed for failure and when he meets a big red turtle his existence seems to change.
Visually The Red Turtle is beautiful and a joy to watch with almost a fairytale like feeling because of what takes place. Small details make the island come alive, like the small crabs on the beach who are often humourous. But there is also enough room for emotion, like a moment at the start of the movie when you wonder whether the protagonist will be able to survive. The computer generated images have a clear and unique look which strongly resembles the style of a Hergé comic. The only language spoken here is that of imagery and de Wit proves that it can be just as effective and maybe even can communicate more.
It’s about as beautifully simple and lithe as an epic visual feast can get, with Ghibli-esque themes about our spiritual connection to nature kept high in the mix, and an overarching bittersweetness that keeps the fantasy grounded in human emotion.