Production photos from this film caught my eye on drawn.ca (an illustration blog), where they were touted as “actual stills,” not concept art. All of Renaissance, a French science fiction film gaining a cult audience in North America, is computer-animated in a style that strongly resembles Rotoscope, but accomplished through motion capture.

The results are described by one IMDb user as “sex for the eyes.” However, the high contrast, black-and-white world of unending surface reflections and “Baron Haussmann meets Le Corbusier” architecture is presented so masterfully and fully it is not mere background but integral to the story. Think of it as Blade Runner in the digital age - I’m sure that’s what the production crew did.

Rating:

Starring: Patrick Floersheim, Laura Blanc; Daniel Craig, Catherine McCormack

Directed by: Christian Volckman

Written by: Mathieu Delaporte, Jean-Bernard Pout

In Paris 2054, young scientist Ilona Tasuiev is kidnapped, and her employer, Avalon health and beauty corporation, hires jaded police captain Barthélémy Karas to find her. He is aided by Ilona’s seductive sister Bislane and a host of shady figures from the underground. Scenes of action, drama, and intrigue blend seamlessly as Karas moves through the city, gathering clues to a deeper conspiracy.

The characters are defined as much by their physicality as their expressions, which tend to be muted. This is reminiscent of Sin City, with far fewer over-the-top comic book flourishes. As per noir convention, the heroes and villains become less clearly defined as past secrets are revealed. The voice track is stronger in the original French; while the English cast includes A-listers like Daniel Craig and Ian Holm, they must deliver clunky dialogue. (Besides, everything sounds better in a romance language.)

The science fiction concepts of Renaissance (concerning the quest for immortality) are well-worn but framed by medical and existential dilemmas, given appropriate weight. A twist ending snaps the meandering narrative into focus, also resolving a seemingly arbitrary romance between Karas and Brislane.

Nonetheless, it seems as though more complex and layered stories could arise from this setting, that stranger inhabitants could emerge from the shadows, and the world could alter more drastically based on their actions. Many Hollywood movies could benefit from a fraction of Onyx Films’ imagination, but Renaissance remains a stunning art piece rather than an exceedingly well-rounded film.