There are a number of brilliant slapstick scenes – Luca learning to walk, Alberto wolfing down pasta, the pair of them trying to ride a homemade Vespa with near-disastrous consequences – that are a real treat, as well as some visually inventive dream sequences, including one involving flying Vespas and another where Luca travels from the rings of Saturn to the Colosseum. Luca is largely a departure from the sort of animation style we’re used to seeing in Pixar movies, swapping photorealism for something more stylised, cartoonish, and lyrical – the "postcard as opposed to the photograph" as producer Andrea Warren put it to. ![]() In some ways, the film feels more like the product of Studio Ghibli than it does of Pixar (the similarities between Portorosso and Porco Rosso cannot be an accident), both with regards to the gentleness of the narrative but also in terms of the filmmaking itself. There are so many little details – from the nods to classic neorealist films to the references to Italian folklore to the gaggles of elderly women gossiping on street corners – that make Portorosso feel at once fantastical but also like a real, lived-in place, lending the whole film the sort of genuinely personal touch that is so often missing from big studio films. In creating the fictional town of Portorosso, where much of Luca is set, Casarosa has said he was inspired by many of the towns he remembers visiting in his youth, and his passion and love for those locations absolutely shines through. ![]() The film is the brainchild of Italian director Enrico Casarosa, who has previously worked as a storyboard artist on a host of animated classics including Ice Age and Up, and who was nominated for an Oscar for his debut short film La Luna. ![]() By entering your details, you are agreeing to our terms and conditions and privacy policy.
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