If you follow animation at all, you are probably aware of the beautifully fantastical Secret of Kells and Song of the Sea, the first co-directed by Nora Twomey and the latter she contributed to from the art department. These fantasies have a distinctive look of layered, cut paper and illuminated manuscripts which move like ancient puppets through incredible worlds rich in imagination and color. Breadwinner incorporates these signatures into aspects of its tale, but this film, directed by Twomey, is much more grounded in the real world.
In fact, the core of the story is very contemporary and disturbing, while still being appropriate for most audiences. And, though it is a chronicle of Afghanistan in 2001, it is just as upsettingly applicable today. The resulting film is is something like a combination of Persepolis and Waltz with Bashir with a dash of The Patience Stone and Wadjda. All films worth seeing if you’ve missed any of them.
There is nothing brilliant about the voice talent in the film, but neither is there anything wanting. They all do quite well, but the star is the art and the tale itself. Shifting between the real world and the interstitial story-world that Parvana is telling to her brother and herself. Both stories serve to pull you along, however that split focus also has some issues. Primarily, Parvana’s bedtime story has an odd energy and flow. The fable is told episodically, but without a feeling of closure or chapter endings, though clearly that is the intent of each break in the tale. It makes every one of the transitions from fable to real world story less than smooth. Not bad, necessarily, but not as crafted as you’d expect given the previous two films. Each change leaves a residual, unresolved energy like an incomplete chord which follows you back into the next scene, keeping you from re-engaging quickly as the story shifts.
Any concerns around that aside, it is a movie you should make time for now that it is generally available. If it flowed better, I’d say it should also kick Coco’s butt out of the Oscar seat, but that isn’t going to happen. Despite its powerful message, insights, and wide-eyed hope for a broken world, The Breadwinner just isn’t quite good enough to pull off the win. But it is good enough to demand your time and adds to a catalog of work that is visually unique and wonderful.