Cool 3D World is a YouTube channel that quickly became infamous for uploading some of the weirdest videos on the web. The Dreaming Boy is a good video to start with while you decide whether or not you want to work your way up to the stuff you’ll later regret seeing.
A coming of age story that it so far off the beaten path that it may not even be a coming of age story.
DIRECTED BY: Rodrigo Blaas
PLOT: Young Alma encounters a toy shop containing a doll bearing an uncanny resemblance to her.
WHY IT MIGHT MAKE THE LIST: In communicating its tale of terror in a style and medium almost uniformly associated with mainstream family-friendliness, Alma stands out as weird amidst today’s persistent stream of digital animation.
COMMENTS: As this site’s regular Saturday Short feature has proven, animation is one of the most fitting mediums for short-length cinematic weirdness. Whether minimalist or elaborate, animation offers a strong opportunity to evoke a particularly singular visual concept within a short frame of time.
Former Pixar employee Rodrigo Blaas—whose name appears in the credits of some of the studio’s most beloved features—has, with Alma, added his own particular twist to this well-established cinematic convention. Drawing on his past work, Blaas bring us his simple, independent tale of surreal horror in the bright, stylized CGI that’s now all but synonymous with modern mainstream animation.
In its themes and narrative, meanwhile, Alma recalls a more antiquated form of family entertainment. Its components—the snow upon slanted rooftops and narrow cobblestone alleys; the toy shop, at once quaint and sinister; the protagonist, a mischievous little one with the air of a vagabond—bring to mind the classical elements of old children’s’ books. The plotline, which imposes a nightmarish fate upon its young protagonist as punishment for a petty misdeed, evokes the Victorian cautionary tales that Hilare Belloc so famously lampooned.
Needless to say, this results in a strikingly unique piece of short cinema; especially considering that, despite mashing together conventions of children’s entertainment from opposite ends of the 20th century, it is very clearly not intended for children. The simple plot follows young Alma, who, prancing merrily down a snowy alleyway one day, encounters a toy shop, with a doll precisely resembling her in the window. Unable to resist this singular temptation, she heads into the unattended shop to take the doll for herself, and meets horrifying consequences—ones that add a twist to the primal fear of endless damnation.
Told, like many short works of weirdness, entirely without dialogue, the story of Alma is, as befitting the nature of Blaas’ past work, communicated via five minutes’ worth of highly expressive visuals that quietly convey basic narrative and subtle details alike. Alma’s slightly ragged appearance hints at her humble background, lending context to her sticky-fingered nature. Hundreds of children have chalked their names on the wall in the alleyway in which she finds the shop. It’s also lined with what might be interpreted as a number of “Missing” posters, ominously hinting at the shop’s scourge of terror. And the store window, picturesque upon first glance, takes on the appearance of a leering monster’s gaping maw when examined more closely.
In terms of weirdness, Alma has its more obvious elements: most notably, flashes of surreal, nightmarish images when Alma seizes the doll. The genuine uniqueness of the short, however, is found in its bold effort to render an artistically-driven work of cinema in a style that’s become emblematic of mega-budget commercial family cinema. The contrast is striking. As an artistic choice, it’s not unprecedented, but Blaas, having come directly off the set of some of the industry’s leading titles, evokes the style with particular authenticity.
Development is currently underway for a Dreamworks-backed feature-length adaptation of the short. As many have already predicted, even with Blaas himself at the helm, it seems highly likely that this horrifying tale, effective chiefly for its simplicity, will lose more than a little of its punch when stretched into feature-length. If nothing else, however, said feature might draw a little more much-deserved attention to the original short.
WHAT THE CRITICS SAY:
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