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DIRECTED BY: Ari Folman
PLOT: Film actress Robin Wright agrees to sell the rights to her image to a studio which will use the captured data to showcase an eternally young avatar in their productions. After 20 years, the producers invite her to extend the contract, and she travels to the meeting of a futuristic congress where all the participants ingest a chemical that allows them to invent their own reality and become anyone. When the congress proposes sharing this drug with the masses, Wright rebels, but her resistance is put down, and another 20 years on, she surveys the world that has resulted.
- The Congress is loosely based on Stanislaw Lem’s 1971 dystopian novel “The Futurological Congress“; Folman describes the novel as “more as a source of inspiration, rather than the basis of the screenplay.“
- Folman’s previous film, Waltz With Bashir, is a member of the 366 Weird Movies Canon.
- Folman originally conceived the central role for he part of Dylan for .
INDELIBLE IMAGE: The trip through the animated landscape of Abrahama City is rife with psychedelic visions and eye-catching creations. The scenes within the animated universe are densely populated with caricatures of the famous and celebrated, representing alternative identities whom a disaffected humanity have chosen to take on in place of their own. Naming them all would be impossible, but I’d like to offer a particular shout-out to the person who decided to become Magritte’s apple-faced businessman. But the image that stays with you is a lonely and scared Robin Wright standing alone in the middle of a large and inhuman motion-capture dome, presenting a prism of emotions as the computers capture her every nuance. It’s an ironic manifesto for the value of human acting, as Wright the actress manifests the uncontrolled feelings of Wright the character.
TWO WEIRD THINGS: Entrance to Abrahama City, Robin grows wings
WHAT MAKES IT WEIRD: Animation has always reveled in its power to bend reality, making it an ideal medium for fantastical visions and deep dives into the imagination. The high-wire act that The Congress has to walk is literalizing animation’s attempt to slip the surly bonds of the real world. It’s not enough for this fantasy landscape to be trippy; it has to be a logical extension of the very real world being abandoned. It’s only appropriate that a movie star, the very avatar of a flesh-and-blood figure creating something artificial for our amusement, would be our guide. The film deftly juxtaposes the two worlds, each commenting upon the other and dramatizing the wonders and perils of our ongoing quest for escapism.