Have you ever wanted to fall into a painting and see what the world was like in there? Loving Vincent, whose title serves both as the core sense of the film and comes from the artist’s own epigram, does just that. Using van Gogh’s style, an army of artists hand painted each frame making it feel like you’re in his world. The result is somewhere between stop-action and traditional animation, evoking Aleksandr Petrov or even early Takahata and Miyazaki.
But the story itself isn’t what you likely anticipate given that description. Unexpectedly, this Oscar contender kicks off a year after van Gogh’s death; an event most of us grew up thinking we understood. It was suicide, wasn’t it? Turns out there is a story there to be told. Douglas Booth (Limehouse Golem) is the man trying to ferret out the truth, at first reluctantly, and eventually with solid obsession and a large collection of characters to interview.
Among the notable supporting cast: Chris O’Dowd (The Cloverfield Paradox), Saoirse Ronan (Lady Bird), Helen McCrory (Their Finest), Aidan Turner (The Hobbit: The Desolation of Smaug, Being Human), John Sessions (The Loch), and Jerome Flynn (Ripper Street, Game of Thrones). Due to the techniques of the film, the actors are more than just voices in this story. All of the actors are recognizable, their images painted over to fit into the atmosphere.
This amazing cast, listed and unlisted, are also part of the issues with the film. Though each looks a lot like the real-world counterparts in Vincent’s world, the rotoscoping is a little distracting. The style of the film, which uses overlays and masks to create the style at times, can also be a bit hard to focus on as it flows across the screen. It brings to life van Gogh, making his static indication of vibrancy real, but what worked in static can feel over amplified in constant motion. Still, the overall effect and story are fascinating and clearly a true labor of love.
Dorota Kobiela and Hugh Welchman directed and co-wrote this odd historical along with Jacek Dehnel. For all involved this was an early contribution to feature film and a heck of a leap of art to try. While it deserves its place among the Oscar notables this year, it isn’t likely to win more than the honor of nomination. However, I am very curious to see what this trio (or individuals) attack next. It took a very creative brain to recognize there was a movie here, and to conceive of way to tell it that would capture audiences in a new way. Make time for Vincent…it is truly unexpected.