"Loving Vincent"

With almost 65,000 frames of oil painted by hand, in reference to the works of Vincent Van Gogh, is how we see the film Loving Vincent, some kind of animation thriller (which can not be compared to Coco as the British and American Film Academies have done) which sought to uncover the unknowns of the last days of life and the mysterious death of the tormented Dutch painter.

The film works as a compassionate form of justice towards the figure of the author who, in about ten years, painted almost 900 paintings of which he only sold one, while now it is almost impossible to admire The Starry Night, the Van Gogh’s famous paint that has attention than any of those exposed at the MoMA Museum in New York.

This is the first feature film made with animated paintings. Each frame is a picture painted by hand on oil that has been given movement. The result is an impressive animated film that reviews the career of Vicent Van Gogh with delicacy and originality. 

The picture, which took 6 years to complete and more than 120 artists worked in, show us the character of Armand Roulin, the son of Vincent’s friend Joseph Roulin. Roulin junior, as a favor to his father, must deliver the last letter of Van Gogh to his brother Theo. But, unfortunately, this letter will not be easy to reach its destination. Here begins the travel of this boy, who discovers in Van Gogh a sensible, painful, simple and curious human being, for whom he begins to feel empathy and a bit of grief, wanting to know the whole truth of the last few days of the unfortunate artist through those who knew him. The film teaches us the humanity of the painter and his friends, which are portrayed  in a realistic and three-dimensional way, using the paintings and characters that Van Gogh painted.

 

Why did he shot himself on his abdomen instead of his mouth? Does it make sense to show signs of wanting to work on new works just before killing himself? What about that young man? Did Doctor Gachet feel envied for his talent? The final goal of Loving Vincent is not to find a definitive answer to these questions but to go through these different witnesses of the life and death of Van Gogh.

With these weapons, painter Dorota Kobiela and filmmaker Hugh Welchman perform an exquisite work of unusual animation in the history of cinema.