In STOPMOTION (2024), a stop-motion movie artist becomes obsessed with her new project, with grisly results. Interesting stop-motion sequences, some gruesome body horror, and a strong performance by Aisling Fransciosi (NIGHTINGALE) elevate the film, though it felt incomplete and kinda empty for me.
The movie starts with Ella working with her mother, who is a legend in stop-motion film art. As mom has arthritis, Ella acts as her hands, and it’s clear she’s an unhappy puppet with artistic aspirations of her own but a lack of confidence in developing her own ideas.
When mom is out of the picture, Ella vows to finish her mother’s film but lacks the ability to do it right. Then a mysterious little girl shows up who says she has a story Ella can tell. Only, this story requires sacrifice, and telling it requires the artist to become a part of it.
The themes are interesting. I’m always on board for a story about where creative obsession is someone’s undoing, whether it’s YELLOW BRICK ROAD or BLACK SWAN. Again, the stop-motion sequences are really well done–the director got his start there–and I loved seeing how these things get made. The body horror is delightfully repulsive.
The only thing is the character is such a blank slate. She kind of has no personality, which is the point-she is just another puppet, first of her mother and then her own suppressed artistically violent urges. As a result, her descent doesn’t quite feel like a descent. It all comes together in an ending doesn’t quite pay off.
This is one of those movies a lot of people seem to love or hate, but as usual, I found myself just plain liking it. It was a worthwhile watch, it has a ton going for it, but in the end, I just had a hard time connecting with and rooting for the protagonist.
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