This little film is curiously simple. If you didn’t look closely enough, you would think it was made by children. Its simple means. The contagious fun.
The animators’ carefree hands on screen. The happy, wordless sounds. But even without seeing it a second time, its repressed anger is obvious. The deliberate fierceness with which a world that is everything but okay is represented. The world is not happy and innocent, and neither is this film. You might think that the filmmaker is overqualified for a little film like this. Why does an architect make doll’s houses? Why does a film music composer compose tunes for toys? To ask the question is to answer it. The film’s simplicity is, in fact, sophistication.
I write ‘little film’ knowing that the words’ warm sound cannot be translated. It represents, in a seemingly cheerful manner, a lost innocence. This is exactly what the film’s form is also searching for: a simplicity and effectiveness now lost in filmmaking. The carelessness with which form and content merge is, of course, not that careless at all. Just like the world isn’t really okay, this little film is not simple. And that is simply curious.