Animated film can win Cannes Palme D- or for the first time this year-

All eyes are on the 2d features of the animation cargo most valuable, which will be world premiere at the Cannes Film Festival this Friday. This is the first animated feature to appear in the Cannes competition since the waltz with Bashir in 2008.

A Holocaust-related drama, the feature-length animated Cargoes of French filmmaker Michel Hazanavicius, who won an Oscar for best picture and best director in his 2011 film "The Artist," is an adaptation of Jean-Claude Grumberg's recent novel of the same name.

Studiocanal recently released the first footage from the film in this teaser:

The likelihood that an animated film will win the Palme d'Or is, at best, a long shot and, first of all, the competition at Cannes this year is relatively light and most films have been mildly reviewed – Screen International is the only company in the world to We hold here a scorecard of how the film fared with critics.

Second, the screen of the film finally for the Cannes Competition Jury presided over this year by Barbie director Greta Gerwig. This positioning can often be advantageous at festivals, especially if the movie is an emotional tearjerker this seems to be.

But whether the film won the highest award at Cannes or not, even the appearance of animation features in the competition is a significant achievement. As one of the most high-profile animation releases in Europe in 2024, along with the upcoming Wallace & Gromit feature, there will be a lot of discussion over the next few months about the most valuable cargo.1

The shipment will not be released in France until 11/20 and will not be released in the United States. The date has not yet been set, the film will have another high-profile engagement next month, when it will be screened as the opening night film of the Annecy Animation Festival.

Hazanavicius composes a story set in World War II as "ultrafiction," a film set in the real world where, in his words, "borrowing the code of a fairy tale" is "more toxic than a fairy tale."

Speaking of cinema to variety, Hazanavicius further described his overall storytelling goals:

But my intention was to make a film about the Holocaust, and it was really the splendor of this story that took me on an adventure, and it was very heavy in terms of production, time, investment, etc. It turns out. Again, it's not a preacher movie, it's not a movie about a victim or an executioner. It's about people who saved lives. We see a beautiful chain of solidarity in love that moves to save the girl's life. Not because you cry because you are sad, but because you are beautiful.