It is very very (very) easy to focus on how gut wrenchingly sad this film is, but it's also an immensely beautiful film filled with the smallest details of life. There's something about animation, an inherently abstract art form, being used to portray life in it's often mundane details that makes for some of the most poetic films. This is an utter masterpiece. Not just one of the very finest animated films ever made, but one of the finest films.
Matthew Perry meets Salma Hayek in line waiting for the bathroom and they immediately sleep together because otherwise there wouldn't be a movie. Three months later she show up and tells him she's pregnant and she knows he's the father even though she was basically engaged to another man because the movie needs to happen. He agrees to meet her parents and immediately proposes to her the same night because ... you know what I'm going to say.
In one sense I really think this movie is a little indefensible. It's so earnest and guileless in it's counter-culture portrayal of St. Francis that it should fail completely ... especially with a score by Donovan for heaven's sake. It's a very superficial treatment of quite a serious subject. However, there's something about the stunning painterly cinematography and meditative pace of the film that really works for me, although I'm quietly kicking myself for being taken in the whole time I'm watching it.
Wenders starts this documentary by stating that when originally asked to make it, he declined because the subject matter held no interest for him. I would contend that he never really solved this issue. He clearly admires Yohji Yamamoto, but it's never clear exactly what he admires about him since the bulk of the film is extremely long takes of Yamamoto sitting and talking at the camera. Wenders muses about the (at the time) new digital technology that is taking…