Laika’s Wildwood Showcases Stunning Stop-Motion Animation
Due to a scheduling mix-up, I only managed to catch two films on my second day at the Toronto International Film Festival, but I did get an exciting sneak peek at one of my most anticipated movies of the year.
Even if you’re not familiar with Laika, you’ve likely seen their work; they’re the creative force behind beloved stop-motion films like ParaNorman, The Boxtrolls, and Kubo and the Two Strings. Over the years, Laika has consistently pushed the boundaries of animation, both technically and artistically. This brings us to the stunning Wildwood, set to hit theaters next month. Here’s a glimpse:
Some of Laika’s team took the stage at TIFF to discuss the making of Wildwood, particularly what makes this film look more lifelike than their previous projects. One key factor is the animation itself, which, as showcased in the trailer, is incredibly fluid. “We’re in the midst of the evolution of an art form,” explained Laika’s head of animation, Brad Schiff. “With digital cameras, we can see what we’re doing; we have what we call frame-grabbers.” This technology allows animators to view all recently shot frames in real-time, enabling them to track every movement of a puppet and ensure seamless motion. “There’s no reason for stuttery animation, other than a stylistic choice,” Schiff noted.
The puppets have also evolved significantly. They now feature an internal “diaphragm” known as a breather, which Laika first tested in their previous film, 2019’s Missing Link. This time, all major puppets are equipped with breathers, allowing animators to create the illusion of breathing, making characters feel more human in the final cut.
You can catch a glimpse of this in the trailer above, but I also viewed several clips from the film, which, despite Laika emphasizing they weren’t final, looked absolutely stunning. One clip featured a thrilling bike chase through a vibrant version of Portland, where Wildwood is set. The speed and intensity felt akin to a live-action scene. The story follows a young girl named Prue, who loses her little brother in an “impassable wilderness” filled with a rich fantasy world. In the clips I saw, she navigated everything from escaping a lavish mansion guarded by dogs distracted by their own tails to soaring over vast landscapes on the back of a giant bird. Wildwood exudes the stylish detail you’d expect from Laika, but what truly impressed me was how realistic it all appeared in motion.
For those who appreciate the numbers, Wildwood features 233 puppets (with 36 being variations of Prue), brought to life by 49 animators, and took 231 weeks to complete. It’s set to release in theaters on October 23rd.
As for the films I did manage to see on day two of TIFF, they were both fantastic yet completely different. One is a whimsically dark musical, while the other is a heartwarming family film crafted with traditional animation.
Julián, from the Irish animation studio Cartoon Saloon, known for works like Song of the Sea and Wolfwalkers, shares thematic elements with their previous films, telling the story of a child lost in a fantasy world. In this case, seven-year-old Julián moves in with his grandmother in Brooklyn while his dad is away for work. Julián is fascinated by ocean life and beauty, so when he meets kids preparing costumes for a mermaid parade, he becomes determined to join in. However, his vibrant personality often clashes with his more traditional grandmother, and when he faces bullying for wearing a mermaid tail, he begins to withdraw. Ultimately, Julián is a straightforward tale about embracing oneself and allowing others the same freedom, told with remarkable style and passion, making it a delightful addition to the studio’s lineup. Plus, the ending is sure to tug at your heartstrings.
Stuffed presents a unique love story between an eccentric taxidermist and a man willing to sacrifice his life to fulfill her dream of stuffing a human. And yes, it’s also a musical. With echoes of Sweeney Todd, Stuffed balances its macabre premise with heartfelt moments. Barrie (Harry Melling) leads a lonely life working at a sandwich factory, collecting obituaries, and caring for his aging mother. Obsessed with leaving a mark on the world, he responds to an online ad promising to make him “exceptional,” leading him to Araminta (Jodie Comer), who is surrounded by taxidermied animals and has always dreamed of taking her craft to the next level. Their goals align: she wants to stuff a person, and he seeks immortality. As they collaborate on this bizarre plan, their bond deepens, complicating the whole “killing Barry” aspect. Stuffed is darkly humorous and occasionally cringe-inducing, yet it’s also filled with warmth and affection.
