Film Review #129: WOLFWALKERS

WOLFWALKERS (2020)

Set in the lush and mystical forests of 17th-century Ireland, intertwining elements of English colonialism and Celtic paganism into its narrative, the film follows the journey of Robyn Goodfellowe, a young English girl who moves to Kilkenny with her father, Bill.

Robyn's father, a seasoned hunter, is commissioned by the ruthless Lord Protector to eliminate the wolves that inhabit the nearby forest. Determined to prove herself as a capable hunter, Robyn ventures into the forest and stumbles upon a magical secret: Mebh, a free-spirited Wolfwalker, a being who can transform into a wolf at will.

Intrigued and drawn to Mebh's world, Robyn forms a deep bond with her. As they explore the forest together, Robyn learns about the Wolfwalkers' connection to nature and their role as guardians of the forest. She also witnesses the devastating impact of the Lord Protector's deforestation efforts on the forest ecosystem and the local community.

Determined to protect her newfound friend and the forest, Robyn takes a stand against the Lord Protector. With the help of Mebh and the Wolfwalkers, she uncovers the Lord Protector's true intentions and exposes his plans to exploit the forest for personal gain. As the conflict escalates, Robyn's father, torn between his duty as a hunter and his love for his daughter, must make a difficult choice.

In the realm of contemporary animation, Wolfwalkers (2020) stands out by boldly embracing the laborious but fulfilling approach of hand-drawing its cartoonish frames. While its visible sketch lines and rough appearance may initially seem jarring, they imbue the film with a unique and unpolished charm. Unlike the photo-realistic and often sterile renders prevalent in mainstream animated movies, Wolfwalkers' distinctive art style serves a profound purpose beyond mere visual communication. It adds a layer of depth and meaning to the film's narrative. One striking example is the geometric contrast between the angular, imposing town and the soft, lush greenery of the forest, creating visually stunning and diverse images.

The directorial duo Tomm Moore and Ross Stewart exhibited remarkable creativity in their approach to composition and motion. The wolf sequences and the stylised design of the Wolfwalker den were particularly captivating to me. It is apparent that the film is a labor of love, with each frame radiating warmth, emotion and passion. Wolfwalkers (2020) stands out for its authenticity in an era when many animation studios have become overly profit-driven, making it a refreshing experience.

Although the plot remains fairly predictable, the film compensates for this by investing time in developing the characters and establishing the setting, resulting in a compelling and relatable narrative. Wolfwalkers (2020) excels in its uninhibited portrayal of emotions, captivating viewers with enchanting sequences brought to life by fluid animation. While I found some twists and turns in the second half to be somewhat redundant, they ultimately did not detract significantly from the overall entertainment value of the film.

Wolfwalkers (2020) is a children's film that transcends age boundaries. It tackles the classic theme of humans versus nature, treating its audience with maturity and presenting nuanced portrayals of characters and events. This allows for various interpretations and discussions regardless of age. Younger viewers may relate to Robyn's youthful energy and spirit, while older audiences may focus on the religious dogmas and political allegory. Overall, Wolfwalkers (2020) is a well-crafted film that appeals to a wide range of audiences, perfect for family movie nights or a feel-good relaxing watch. 

Animated films like this one possess a unique blend of heartfelt emotions and stunning visuals that captivates audiences, but perhaps their most captivating aspect is their ability to ignite optimism and enthusiasm for the boundless possibilities of animated storytelling.

About the Author: Jane is a student who loves all types of media and creative expression, including film. She especially has a soft spot in her heart for Asian cinema and films that make her bawl. Apart from lurking on Letterboxd reviews, she likes to collect trinkets and do handicrafts!

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This review is published as part of *SCAPE’s Film Critics Lab: A Writing Mentorship Programme, with support from Singapore Film Society.