Although it begins with her cinematic feet attached to the ground, French writer and director Jeremy Kalabin “in the meantime”, his moody hybrid follow -up to the Oscar -nominated lyrical animation feature “lost my body”, quickly exceeded the strategies and to outer space. Adrift, Elsa (Megan Northham), who is the care of a young man who has a talent for drawing, is looking forward to the stars to obtain answers about the location of her older brother Frank (expressed by Sebastian Bodro), a pioneer in space who is never no longer to this planet from the task. To shock it, the stellar void will respond to its calls – but not without great consequences.
There are very pleasures to see that the first attractive battle in dogs in the living filmmakers does not completely give up the narration of the stories drawn by hand. Black and white animation sequences permeate the ELSA and Franck on a space ship, in the main cases in the narration. However, the most interesting thing is that the sad tone it raised in “I lost my body” is also the driving force in “Meanning on Earth.”
The physical and costume heroine here is a good spirit for Naoufeel, the young man in the predecessor of animation dogs. While they are in the place of their youth, both feel resenting the fate and the struggle to accept their reality after the tragedy of changing life.
There was an unforgettable dynamic for how the camera moved through the frame in “I lost my body”, which is repeated by the film photographer Robertit Hayvert here with a quick movement and unconventional framing, and the small French city in Elsa and the forest nearby turned into places that are strange like landscapes on Mars. Jean-Cristophe Bouzy, which creates strong visual associations, highlights the luminous effect. The amazing atmosphere is completed by the mysterious dan levy composer music, which also recorded “I lost my body”. This comprehensive synchronization of the cinematic language performs the heavy lifting of the viewer in the other world for the hypothesis of the film, because dealing with science fiction elements, although smart, is somewhat economical: foreigners are never seen, they are only present as a voice.
One night, she spoke to the widening of the sky as if she were communicating with her brother, Elsa hears an answer through the wind. In fact, Furank, he is asked to pick up a glowing seed from the ground and insert it into its ear. A group of entities outside the planet, whose anonymous leader (expressed by Demetry Dorie) speaks directly in the mind of Elsa, has a hostage Frank. They will return to the ground if they help them find a total of five people who can be assumed by their bodies. The consciousness of the hosts will be placed in a permanent dream. With no other option, Elsa represents its invisible gate in the forest.
But what do these foreigners intend to roam our planet into a random human body? The answer is somewhat simple, despite a philosophical hole: they want to feel, in order to try life without any ambitions or plans. These uncontrolled organisms are keen to submit to the feelings and procedures that most of them consider a foregone, which provides a useful perspective to chase humanity that does not end to achieving noble goals. Do they have big plans, mentality, resources and discipline to accomplish them are the only ones who deserve their lives? Or is there a value in those who cannot participate or do not participate in the mice race, that is, the regular majority who may not leave their time alive, no sign that is not erased?
Elsa’s mission takes such a moral puzzle when she must play God, and she decides to sacrifice for the use of foreigners as vessels and transferred to a physical form. Among the candidates is an elderly woman who no longer remembers her husband, as well as a shelter woman whose circumstances cut her relations with the family. The performance of Northham, who is fueled by anxiety, depends on the hardship of her veiled face, as Elsa despair grows to complete the mission (in front of her only three days of closing the gate). The cognitive actress plays a role in his sadness that has stopped her desire to practice a profession in the arts. She no longer imagines plans for a satisfactory future, but she survives self -consent. Does her desperate behavior and empty motives make herself a perfect choice for delivering her life?
Where she feels “on Earth on Earth” a little less in recognizing the collective pain that fills Elsa’s parents and her younger brother due to Frank’s loss. Each of them gets only one emotional scene with it. However, this directing effort in the second year proves the hand of the excruciating dogs of emotional existential tales with an anomaly, regardless of the means it creates. Watching “at the same time on Earth” can see a sophisticated sophisticated topic that links it to someone who connects him from the other work.