As far as I am able to tell (read: after a single viewing, which feels hardly sufficient for a great number of reasons), this is Pixar's most deliciously imaginative venture since The Incredibles. And as someone who staunchly idolizes the cinematic ground this studio walks on, I do not say that lightly.
Hertzfldtdlted is probably one of the most unique voices working in 24 fps visual entertainment today, period. His style, especially in recent years, alludes to more dimensions of space and concept than we're used to perceiving in film, much less animated film. In World of Tomorrow, Hertzfeldt's approach is decidedly digital, both in visual and conceptual execution. For those of us fondly familiar with Rejected Cartoons or It's Such a Beautiful Day, the first few seconds of the digitally-sketched Tomorrow…
You know, this actually made sense to me. I was bracing for a fevered surrealist nightmare, but this felt much more like a coherent narrative than anything else.
I found myself eerily reminded of Bergman's Persona more than once - was that just me? Not only a sense that the two lead women might just be the same person, but a similarly energetic claustrophobia that pulsates in the silences between them. There's sexual energy, but there's also sincere compassion and…
The subject matter here is frightening in weight alone, and it is the fact that Klara herself couldn't possibly know what her own foolish little comment meant that is particularly horrifying. A monster is created, and an innocent man becomes victimized to a von Trier-esque extent. But we can't see the monster. It stays in the shadows and manifests itself in the forms of paranoia, emotional manipulation and even violence. The monster's nature is untruth, and its weapon are the…