Animation at Cannes is framed as not inferior to live-action, supported through multiple animated entries. Louis Clichy’s Iron Boy stands out as a tender film that begins like a coming-of-age comedy and then weaves in faith, family, and fellowship. The animation style resembles watercolor paintings rather than traditional hand-drawn sketches, and it connects image, character, and theme. The story follows Christophe, an ordinary rural student with an inconsistent spine who must wear an orthopedic brace during a period of self-discovery. Christophe navigates pressures involving family, a first crush, and a growing interest in music while coping with his condition.
"Cannes head honcho Thierry Fremaux has been a vocal supporter of the medium of animation this year, noting in most of his intros for animated films that these should in no way be seen as lesser to the live-action entries in this year's program. And there's a lot of them."
"The best of the crop so far is Louis Clichy's sweet "Iron Boy," a tender film that first feels like a coming-of-age comedy but weaves in themes of faith, family, and fellowship in a manner that's subtly brilliant. Employing a style that looks more like watercolor paintings than traditional hand-drawn sketches, Clichy reveals how much he learned in the art departments of "WALL-E" and "Up" regarding how to marry image to character and theme."
"Christophe is an ordinary student in rural France. Ten years old when the film opens, he's struck by an inconsistent spine, one that forces him to tilt at inopportune times. He sometimes imagines being able to put the whole world on its side with him, and Clichy sends people and things into the air with "Twister"-esque abandon. The more grounded reality is that Christophe will have to wear an orthopedic brace, right at the age when he's trying to figure out who he is and who he wants to be."
"While Christophe is going through that awfulness, he's torn between three things: His family, a first crush, and a growing interest in music. His distant farmer father, struggling with the crops in a down year, pushes Ch"
Read at Roger Ebert
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