Every year, it seems obligatory that one of the Oscar-nominated animated feature films is preposterously bizarre and unsatisfying, having attracted attention solely because of the way it looks.
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| When Arco attempts to fly without benefit of his crucial time-traveling gemstone, Iris supplies the necessary weather conditions by blending the day's bright sunlight with water spray from sprinklers and her hose nozzle. The result ... leaves much to be desired. |
But there’s the not-inconsequential matter of story, in which department this feature from French co-directors Ugo Bienvenu and Gilles Cazaux comes up seriously short.
In interviews, Bienvenu has admitted constructing Arco from a series of hand-drawn sketches, rather than a script.
That’s blindingly obvious, because — in terms of narrative — this film often is an incomprehensible and impenetrable mess. Additionally, its tone veers wildly from serious ecological cautionary tale, to bumbling slapstick farce. Those two don’t play well together.
Bienvenu shares scripting credit — such as it is — with Félix de Givry.
In the distant future — sources differ on 2932 or 3000, but neither is mentioned during the film — people live on circular, open-air platforms that jut out, like branches, from immense towers. Those are anchored on Earth somewhere far below, beneath an all-encompassing blanket of concealing clouds.
Mention is made that this is “the great fallow,” intended to “let the Earth rest.” We assume some sort of ecological disaster, never specified.
Each family’s adult members periodically travel back in time, returning with single examples of a fruit, vegetable or spice, which are gene-sequenced and replicated, so that everybody can have lush gardens. Individuals traveling in this manner — which can take place only during a combination of rain and sunlight — leave a rainbow in their wake.
Animals never are mentioned, and (apparently) nobody has pets. But birds are in abundance, and people can talk to them (!).
The colorful animation style at times evokes Hayao Miyazaki, but his films always contain a cheerful warmth that’s utterly lacking in this cold, clinical, brooding story.
People sleep suspended in mid-air, under an anti-gravity light, in uniform-style pajamas and no blankets (which, frankly looks neither comfortable nor cozy).
