Arco blends Studio Ghibli-inspired wonder with a distinctly French surreal imagination
French animation has a rich history. But it has yet to achieve the same widespread recognition as American, British or Japanese animation. Arco could change that. The film’s accessible Studio Ghibli-esque story, unique visual imagination and surreal tone marks it out from run of the mill family fare.
Arco is a 2D hand-drawn time travel fantasy film set in 2075 and 2932. The eponymous hero is ten-year-old boy who steals a cape and gemstone that enable him to travel back in time. Arriving in 2075, Arco meets Iris, an inquisitive girl whose primary caregiver is a robot. It’s a substitute for her parents who work away from home and are only present through holograms. Having lost the gemstone, Arco and Iris try to find a way for him to return home.
As this plot description might already suggest, Arco displays admiration for the Studio Ghibli films of Hayao Miyazaki from the first frame. With its pre-teen protagonists, collision of fantasy with reality, environmental themes and bumbling comedic supporting characters, viewers will be reminded of Laputa: Castle in the Sky (1986), Porco Rosso (1992), Spirited Away (2001) and Ponyo (2008) among others.
Arco’s depiction of wide-open blue skies accompanied by delicate piano music and later apocalyptic scenes of climate disruption also share an audio-visual heritage with Ghibli films. But far from a mere imitation, the film also offers a distinctly French take on animation.
French animation legacy
France can lay claim to one of the earliest innovators of animation – cartoonist Émile Cohl’s 1908 short Fantasmagorie was the longest and most elaborate animated cartoon to date. In 1973 the surreal sci-fi Fantastic Planet captured the trippy psychedelia of its time, and remains a cult favourite today. More recently, internationally acclaimed and financially successful French animated feature films have included The Triplets of Belleville (2003), Persepolis (2007) and My Life as a Courgette (2016).
These films are all very different. But what unites French animation is not a consistent style or thematic concern. Rather, it has a quirky sensibility that embraces the capacity of animation to look at the world from new perspectives and explore outlandish stories that couldn’t be made any other way.
Read more: Studio Ghibli’s layering of Japanese and western storytelling is key to their success
An important part of the success of Arco is in balancing that distinctive French sensibility with commercial appeal. Like Studio Ghibli films, that includes using big star names for the English-language dub. This is essential to reach family audiences who might be unable or unwilling to read subtitles.
One of the film’s producers is actor Natalie Portman, lending the production Oscar-winning credibility and contacts. Portman herself voices Iris’ mother, joined by Mark Ruffalo as Iris’ father, America Ferrera as Arco’s mother, and a triple-act comedic turn from Will Ferrell, Andy Samberg and Flea as eccentric cultists.
Future thinking
Despite Arco’s fantastical story elements, its most significant achievement is in tackling timely contemporary environmental themes. Where most cli-fi cinema (science fiction that depicts climate change) often dwells on apocalyptic gloom, Arco’s take is both incisive and uplifting.
The time-travel themes allow for a subtle consideration of the need for long-term “future generations” thinking, while reinforcing the need for human, rather than technological, solutions.
The makers of Arco will no doubt be hoping for a reprise of last year’s surprise animated feature film Oscar, when the low budget Latvian computer animation Flow beat out the usual suspects of Disney, Pixar and DreamWorks. It signalled a new openness of academy voters to international and creatively adventurous animated films.
A win would be well deserved. Just as Arco’s colourful rainbow styling underpins its hopeful vision for the future of humanity, the film’s present day success signals a bright future for animation production in Europe and beyond.
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Malcolm Cook does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.