Wolfwalkers (2020)

Directed by: Tomm Moore, Ross Stewart | 100 minutes | animation, family | Original voice cast: Honor Kneafsey, Eva Whittaker, Sean Bean, Simon McBurney, Tommy Tiernan, Maria Doyle Kennedy, Jon Kenny, John Morton, Nora Twomey, Oliver McGrath, Paul Young, Niamh Moyles

‘The best animated film that never came to be’. It is sometimes referred to as ‘The Thief and the Cobbler’. It should have been the magnum opus of the British-American animation filmmaker Richard Williams, but was stuck in ‘production hell’ for almost thirty years. Before Williams even had a chance to complete his film, the producer he had partnered with took the drastic decision to pull the plug on ‘The Thief and the Cobbler’ after yet another deadline and budget overrun. Or well, Williams was forced to hand over his pet project to Fred Calvert, who completed the film faster and for a lot less money—but significantly less authentically and artistically—in 1993. Unsurprisingly, the film was a huge flop, but Williams’ raw, unfinished version turned out to be a great source of inspiration for young filmmakers and a triumph for traditional animation. Hand-drawn and based on indigenous art and culture; that was also what Irish filmmakers Tomm Moore and Ross Stewart had in mind when they founded their animation studio Cartoon Saloon in the late 1990s. They graduated at the time when Pixar changed the animation film maker’s profession forever with ‘Toy Story’ (1995), but nevertheless pursued their dream. And with success: their first three films – ‘The Secret of Kells’ (2009), ‘Song of the Sea’ (2014) and ‘The Breadwinner’ (2017) – were nominated for an Oscar (and won many other awards in the wait) and it must be very strange if that doesn’t happen with their equally wonderful fourth film ‘Wolfwalkers’ (2020).

With ‘The Secret of Kells’ and ‘Song the Sea’ ‘Wolfwalkers’ forms a trilogy in which Moore and Stewart pay tribute to the culture, history, nature and enchanting mythology of their homeland, in which magic and fables play a central role. Inspiration was drawn from an ancient legend that tells of (Catholic) Irishmen who refused to convert to Christianity and were cursed as a result. While their bodies are left sleeping in bed, their minds turn into a wolf that haunts at night. The legend returns in the story of ‘Wolfwalkers’, set in the mid-seventeenth century, in which the Protestant English Lord Protector holds sway over the Irish town of Kilkenny (the good listener will recognize the ruthless Oliver Cromwell in this, of course). Not only has he set his sights on converting the local population; the wolf pack that hides in the woods near the town are also a thorn in his side. He has ordered the dutiful Bill Goodfellowe to exterminate the animals. His eleven-year-old daughter Robyn wants nothing more than to follow him into the woods, but her father thinks that hunting is no ground for a girl. However, the stubborn Robyn does not just let himself be rebuffed and secretly goes after him. In the forest she meets the wild red-haired girl Mebh MacTire, who lives and communicates with the wolves and can even turn into a wolf. She tells Robyn that she is the last wolfwalker and is concerned for her mother, whose wolf spirit seems to have disappeared. Her new friendship with this wolf girl presents Robyn with a life-size dilemma…

What immediately stands out about ‘Wolfwalkers’ is the beautiful, unique animation style that is characteristic of all Cartoon Saloon productions. The artists emphasize the contrast between the forest and the city in a clever, artistic way. Where Kilkenny looks angular, with clean and straight lines in the buildings and angularly stylized characters, the Wolfwalkers and their living environment are rounder, looser and more fluid. The use of sober shades of gray and brown makes the city look cold and distant, so that you actually feel trapped under the yoke of Lord Protector. The contrast with the colourful, free-feeling forest where you don’t have to feel oppressed by anything and anyone is great. Even the perspective between the two worlds differs; the city is significantly flatter than the rich forest. This contrast can also be seen in the character traits of the characters: where Lord Protector stands for oppression in all his doings, Mebh personifies the untamed and untouched Ireland. Apart from a metaphorically used but inspired history lesson about the colonialization drive of the English, Cartoon Saloon also incorporates a good dose of women’s emancipation. Because where many (animated) films struggle to squeeze out one interesting female character, ‘Wolfwalkers’ has no fewer than two. And they are not inferior to each other, because the dynamic and passionate Mebh receives a more than excellent response from the bold and persistent Robyn, whose curiosity wins over her fear of the wrath of the dreaded Lord Protector. The fact that we also get to see what splendor and unspoilt nature has to offer us – and that you should not indiscriminately exploit and destroy it for your own gain – gives this fascinating animation film a third in-depth layer.

Pixar, Ghibli, Laika. Cartoon Saloon certainly fits into that illustrious list. With ‘Wolfwalkers’ they once again amaze the animation enthusiast with dazzling visual splendor, rich fantasies and heartfelt poignancy, in a film that expresses an infectious respect not only for nature’s wonders, but also for young women with strong personalities. will and the diversity of Ireland’s cultural heritage.