This is, as the voiceover has it, “a tale as old as time” – or pedantically one that goes back to 1740, when the French fairytale was first published – so maybe it was time for a modernising reboot.
Conveniently released as the nights get darker and the shadows lengthen, Inner Sanctums is a package to give nervous viewers nightmares. Stop-motion animators Stephen and Timothy Quay moved from Philadelphia to London in 1969 after winning scholarships to study at the Royal College of Art. They've been here ever since.
The midlife crisis, the one-night stand in another city, the younger woman and the honeyed words that turn to dust – they happen all the time, in life and therefore in stories. In Anomalisa they are seen miraculously afresh thanks to Charlie Kaufman, that tireless cinematic frontiersman, and his co-director, animator Duke Johnson.
When Marnie Was There is the latest production by Japan’s animation powerhouse Studio Ghibli, and the first since the retirement of its creative genius Hayao Miyazaki. An adaptation of the Joan G. Robinson novel of the same name, it’s a confident and powerful account of a young girl’s search for identity.
"Girls just wanna have fun," or so we're told in the exuberant signature song from Cyndi Lauper making a surprise appearance midway through Anomalisa. But try telling that to the sad-eyed folk who move through Charlie Kaufman's dazzlingly sorrowful 2016 Oscar nominee, as if in a sort of hushed-voiced haze.
One of the lessons we consistently learn from the makers and creators featured in We Made It is that necessity truly is the mother of invention. By negotiating their way around unfamiliar media and techniques, fighting against their limitations, and expressing creative urges by any means necessary, our subjects have as often as not pushed through into unexplored territories and found unique modes outside of standard categories.
Who says satire is dead? After this, I would imagine just about everybody. According to Jon Culshaw, one of the prime movers in ITV's new puppet-CGI farrago Newzoids [*], this isn't just Spitting Image revisited because "the puppets have got more of a spikiness, more of an edgy exaggeration to them." You think? One other difference he forgot to mention was that Spitting Image was often really rather good.
Following the critical and commercial hits Wreck-It Ralph and Frozen, Disney's latest is a film which will win you over with its charming WALL-E-esque antics, oddball coupling and simple slapstick before it – somewhat annoyingly – reveals itself as a kids' first comic book movie, entering the superhero movie stratosphere by transforming into an origin story for the titular crime-fighting team.
The name of Czech director Karel Zeman is far less-known in the English-speaking world than it deserves to be. He began working during World War Two, establishing a name for himself in the rich Czech animation school (and proving a later influence on that movement’s master, Jan Švankmajer), and thus is a decade or two earlier than that country’s celebrated New Wave cinema movement of the 1960s.
Hayao Miyazaki's final film The Wind Rises is grand, sweeping and bursting with the kind of beautiful animation we've become accustomed to from Studio Ghibli (which celebrates its 30th birthday next year). Miyazaki delves into Japanese history with a soaring autobiography of aeronautical engineer Jirô Horikoshi, which also acts as a tribute to the writer Tatsuo Hori - who penned the original short story "The Wind Has Risen".