By Michelle Sommerville
There are films where all it takes it one look at the title and you just know what it is going to be about. For me, this was not one of those films. Before I even pressed play, my mind was filled with ideas and guesses, and I was excited to see if the truth would come anywhere near. Would it be straight forward, or an analogy for something greater? This was almost swept from my mind at the first display of animation. It was breathtaking, even in its apparent simplicity. It didn’t detract from the story, however, instead elevating it and bringing it to life.
It is not a good day for that poor kite. With a musical accompaniment but no dialogue, the audience follows the exploits of the title wayward kite. Cut off from the rest, it is hit by a vehicle, electrocuted by power lines, falls into a dumpster, and finds itself among the disgusting refuse at the tip. By this point it is little more than mere tatters clinging desperately to its frame. It breaks free of this too, now unencumbered but further weakening itself. A storm and rain threaten a final defeat, but almost through sheer will the kite perseveres.
The story of the film is simple, but can symbolise much deeper meaning. You find yourself questioning how closely you related to an inanimate object and its harrowing plight.
At this point I usually comment on the acting, which feels strange to do in a film like this. Somehow, the faceless kite was able to emote, and was a great leading man or woman.
Let me get one thing straight: the animation was phenomenal. From the first look at the kites at the beginning, I was brought into the world of the film. That’s what you need to do, bring the audience in, and The Wayward Kite certainly did this. Add to this the cityscape and huge advertisement boards, a-mazing!
The transitions were also flawless, seamlessly moving from one scene and setting to another.
Another unmistakably brilliant addition to this film was the emotional classical music accompaniment. It was not what you would expect in a cartoon, but elevated it from a more child-like target audience to those looking for the meaning behind the images.
In the last few years, animated short films have become a hit. Whether this is due to shortened attention spans or some other reason, it bodes well for this work. Already selected to screen internationally at well-respected film festivals, it seems this is only the beginning of success for both this film and its creators.
Not since Toy Story (1995) have I rooted so hard for an inanimate object. It held such personification and emotion. The animation was brilliant and made it an oddly relatable story. I have no idea how they achieved this, and I don’t really want to know lest it take away the magic.