Animated feature “Flow,” selected for Cannes’ Un Certain Regard, has debuted an exclusive image and it’s purr-fect.
In the dialogue-free film, a flood is coming, quickly devouring everything on its way: including Cat’s home. There is no human in sight, but luckily, he finds refuge on a boat full of other animals. Together, they silently sail through the cat-astrophe.
Directed by Latvia’s Gints Zilbalodis, “Flow” is produced by Sacrebleu Productions, Dream Well Studio and Take Five. Charades handles sales.
“All the films I’ve made before didn’t have any dialogues either. I think it’s my strength: telling stories through images rather than words,” said the man in question, admitting that “Flow” was always supposed to be “visually driven.”
“All the characters are animals and we wanted them to behave like animals, to keep it grounded this way. It’s not a Disney film. I can’t tell the audience what’s going on in their heads. This silence allowed me to be more expressive with other filmmaking tools. I could really focus on the camera, for example.”
As the Cat comes across Capybara, Dog, a hopeless hoarder of a Lemur and a Secretary bird rejected by its flock, conflicts are inevitable.
“It was almost like your normal casting process. We were looking at different animals, thinking about their personalities and trying to make sure they all stand out. It’s about the individual versus the society. about how a person wants – or doesn’t want – to belong to a group,” stressed Zilbalodis.
“The Cat is very independent and self-sufficient, but the Dog is on the opposite journey: he finally starts to make his own decisions. The Capybara doesn’t really change, but that’s the thing: they get along with everybody. Everyone is arguing and he is the peacekeeper.”
Their world feels familiar yet odd, full of cat statues and abandoned temples.
“I was wondering how I could show water levels rising and express how terrifying it is for the Cat. These ‘drowning’ statues convey his anxiety. I thought of this place as a home of some artist, a sculptor, but I am not that interested in world-building. My main focus is always on the characters.”
Mirroring their actual movements in the film was a priority.
“Our animators were watching cat videos. For work! They claimed it was important research,” he laughed.
“You have to imagine some things, of course, but most of these details, or even sounds, come from real life. Again – we wanted to keep it grounded. When you listen to different cats, you can immediately tell they all have different personalities. You just have to pay attention.”
Funnily enough, the Cat’s adventure happened to echo his own.
“I think I enjoy the company of dogs more, but I am more like a cat. In the film, this independent character learns how to accept others. It’s my own journey, because in my previous film, ‘Away,’ I did everything myself. Now, I had to learn how to work with others. People don’t have to know my story, but they can sense when a film is important to those who made it.”
Searching for the film’s unique look, Zilbalodis opted for 3D animation and handheld-like camera moves.
“We wanted to create a universe that’s immersive and simplified. We don’t render every blade of grass or every hair. It’s shaky and grainy at times, and I also wanted long takes. There is a lot of complicated choreography. It was meant to remind you of ‘found footage.’”
While animated films at Cannes, or any A-list festival, are still rare, according to Latvian director “things look promising.”Michel Hazanavicius, of “The Artist” fame, will also present his first animation “The Most Precious of Cargoes.”
“There is more animation at Cannes this year, although I wish there was more. I don’t think these films should be seen as something separate. I hope that ‘Flow’ transcends these boundaries, because most of my influences come from live-action filmmakers. I am interested in their sensibility and subtlety, because I don’t like to exaggerate.”
He also never wanted his film – which will head to Annecy in June – to be “just one thing.”
“There are some aspects of it that are tragic, but I see it as life-affirming. I wanted it to be exciting, sad and funny. It sneaks up on you. You think you are watching cute animals, you let your guard down, and then you are surprised by some of the heavier punches.”
“Maybe it can bridge this gap even further? Maybe it can be enjoyed by cinephilesandby families with children? Studio Ghibli’s films work for everybody and overall, I think that animation ages more gracefully. These films are timeless.”
