#Ernest et Célestine

[bestanimatedmovie]

Tumblr's favorite animated movie!

Vote in the other polls! What fans say:

Gnomeo & Juliet:

It's Romeo and Juliet but they're gnomes and it has garden drama and at one point Juliet's a ninja and it has a song by Elton John and it has a cool frog in it and murder.

Ernest & Celestine:

The art is absolutely stunning. It's beautiful and tells such a sweet, caring story.

It's a heart-warming story about an unlikely friendship that overcomes prejudice and the animation is just adorable.

[wilwywaylan]

Time to post the drawings made for obscur_echange, the french event where we swap art of obscur fandoms !

My first assignments were characters from a french children book, Ernest (the bear) and Celestine (the mouse). My prompt was "music lesson", and I immediately knew I wanted to draw that one. Ernest et Célestine is an adorable pair, the books are very, very cute, and it's overall very soft. I tried to follow the style of the book with watercolors, and I'm really happy with the result !

ID in the alt text

[the-mouse-joust]

Round 2 Side B: Fight the System

LEFT: Celestine from Ernest and Celestine Description: "She’s a real sweet, kind mouse who cares for her friend Ernest and even helps stop prejudice against the pair. Also, she commits several crimes onscreen."

RIGHT: Despereaux Tilling from The Tale of Despereaux Description: "Despereaux is a small, brave mouse who is very different from the others. He can hear and see things that other mice can't, and rarely knows how to actually act like a mouse is supposed to. And then, he falls in love with a princess, and reading, and stained glass windows, and other human things. Because of this he gets banished to the dungeons, realm of the rats. So basically autism mouse in a fairytale adventure go brrr"

[xiijxoxo]

Isolated by the world, the big brown bear finally meets his little mouse

[akasanata]

Best animated movie!

Choose your favorite movie:

VS

Vote on the other polls of Round 2

[neovallense]

El viaje de Ernest y Célestine (Ernest et Célestine: Le voyage en Charabie, 2022).

[thehydrakehydra]

Song By The Creek

Some Ernest & Celestine (2012) fanart! I frickin' love this movie. It's watercolour art style [which I tried to mimick here] is magnificent and the storywriting is just solid, a really heartwarming movie as a whole. I haven't been able to watch the sequel but I hope I can soon.

The background here is taken from before the rain scene where Celestine and Ernest are by the creek.

[bruxellescity]

Ernest et Célestine: Le Voyage en Charabie' : une nouvelle aventure pleine de charme.

Ernest et Célestine: Le Voyage en Charabie’ : une nouvelle aventure pleine de charme.

Un film de Jean-Christophe Roger et Julien Chheng Actuellement au cinéma Dix ans après leur première aventure sur grand écran, l’adorable duo est de retour au cinéma pour un voyage plein de péripéties à travers le pays natal d’Ernest : la Charabie. Ernest et Célestine retournent au pays d’Ernest, la Charabie, pour faire réparer son précieux violon cassé. Ils découvrent alors que la musique est…

[dweemeister]

Ernest & Celestine: A Trip to Gibberitia (2022, France)

Before the late 2000s and early 2010s in the United States, the possibility of finding mostly hand-drawn animated features from outside the major American studios and select anime works was a remote one if you did not live near a major city. Chipping away at that reality is New York City-based GKIDS, a distributor dedicating itself to introducing independent animation, “for both adult and family audiences.” Without GKIDS, Ireland’s Cartoon Saloon (2009’s The Secret of Kells, 2020’s Wolfwalkers) does not have the international reputation that it now has. GKIDS’ dedication to playing both dubbed and subbed versions of movies (before handing over theatrical distribution rights of Studio Ghibli movies to GKIDS, Walt Disney Studios only offered English dubs for theatrical releases) has shown its respect for its audiences.

When I saw Ernest and Celestine (2012, France/Belgium) in a theater in March 2014, it was the first GKIDS release I saw that was staunchly a children’s movie. What I saw that day was eye-opening. Here, like the animated movies that colored my younger days, was a work that could easily appeal to kids. But had similar, if not equal, appeal to adults. Call me a provincial and ethnocentric American all you will, but I realized then that non-English and non-Japanese-language animation is not always “more sophisticated” than what my friends and I mostly watched. It remains, to me, one of the best animated features of this young century. My thanks to GKIDS for all that they provide to American audiences willing to branch out beyond what is most readily available.

A decade and a CGI animated television series later, a new film based on the duo created by the late author-illustrator Gabrielle Vincent arrives. Based on an original story, Ernest & Celestine: A Trip to Gibberitia (in French: Ernest et Célestine: Le Voyage en Charabïe) retains the spirit of the loving friendship between bear and mouse – both perpetual outsiders. This hand-drawn sequel’s directors are Julien Chheng (animator on the original movie, producer of Primal, and director of “The Spy Dancer” from Star Wars: Visions) and Jean-Christophe Roger (a director on the TV series). There was no involvement from the original movie’s directors – I’m unsure what Stéphane Aubier and Vincent Patar (2009’s A Town Called Panic) are up to; Benjamin Renner is now working at Illumination. With some modifications that resemble more of the television series than the original film, Ernest & Celestine: A Trip to Gibberitia is another comedic delight, with pointed statements to make about the absurdity of government censorship. It does not exactly recapture the aesthetic pleasures nor the succinct writing of the first movie, but it still compares favorably than almost anything released in English-language animation this year.

Ernest and Celestine (Lambert Wilson and Pauline Brunner, both returning to the roles), defying societal expectations and a biased legal system in the first film, are still living together. Celestine draws and paints. Ernest, who has just awoken from hibernation, busks on his Stradibearius violin and bandoneon (it’s not an accordion). One day, Celestine accidentally breaks the neck of Ernest’s violin – Celestine is repentant, Ernest distraught but not angry. The only one who can fix the violin is the original craftsman, Octavius (Jean-Marc Pannetier). He lives in Ernest’s all-bear homeland of Gibberitia (Charabïe*), and Celestine believes that they should travel there immediately. A resistant Ernest opposes the plan, but has no choice to follow Celestine when she takes the violin and sets off to Gibberitia on her own. In the first film, Ernest mentions his estranged relationship with his family was due to the fact that he became a musician rather than go into law. In this sequel, Celestine learns the exact details of that conflict, and Ernest witnesses the changes in his family (his parents and especially his younger sister) and Gibberitian society that have transpired due to his decision.

Without spoiling too much, Gibberitia has outlawed all musical notes except for one (a C, or referring to solfège, “Do”). How are the average Gibberitian bears coping? All you have to do is look at the national slogan: “That’s just how it is.”‡ Meanwhile, a mysterious saxophonist vigilante named EFG (“Mifasol”, again referring to solfège) playing multiple-note music is giving the Gibberitian police a headache.

Screenwriters Guillaume Mautalent and Sébastien Oursel (the French-Irish animated TV series Glactick Football) present an endearing screenplay that captures the platonic love between bear and mouse. This happens in spite of a messy final act, headlined by a head-scratching decision from Ernest to acquiesce to his father’s demands just before the climax (the result of what the directors Chheng and Roger admit were significant changes to the story in order to accommodate a film where music helps to drive the narrative). The friendship that Ernest and Celestine built in the first film has grown in the time between the two films, and it is reassuring to see that they remain so close. One sees it in their reactions when Celestine breaks his violin, Ernest’s attempts to make sure Celestine is safe, her disgust when she hears about his parents’ expectations, and quieter moments where little else is happening. Simple as their friendship may seem, their relationship has deepened over time, through their distinct but complementary personalities and mutually weathered conflicts. Certainly, Ernest can be a bit of a grump and Celestine has an impulsive streak. But the two accept each other for who they are in that moment, and cannot stand the sight of others treating their friend without compassion. There is much for children to learn here and in the previous film, as well as adults.

That ability to tell a story appealing (in different ways) to both younger and older audiences is even apparent in the drama that exists alongside Ernest and Celestine’s relationship. Gibberitia’s decision to outlaw all but one musical note provides the bulk of this sequel’s comedy and dramatic intrigue. Children will get a kick out of the situation's silliness, as even Gibberitia’s songbirds find themselves on the receiving end of the police’s high-pressure hoses. How much laughter can one elicit from playing a piece, with a straight face, that has only one note? More than you think. Adults will quickly notice the surprisingly sharp critique towards government officials looking to censor works of art. Artists are incarcerated without trial for playing anything other than a C. That the reasons behind the decision are hilariously shallow (rather than, to take a real-life scenario, an intent to further marginalize marginalized groups) makes the movie’s messaging that much more effective for all audiences.

Ernest and Celestine’s conversations with the local constabulary are alarmingly fruitless, usually ending with the authority saying something alone the lines of: “because I said so” or the oft-quoted “that’s just how it is.” If Gibberitia’s kritarchy is outlawing all but one note, what else are they up to? Co-directors Chheng and Roger and co-writers Mautalent and Oursel, to ensure the film’s appeal to children, will not say and steadfastly stick to the ban on all but one musical note. In a show of respect to viewers of all ages, they color the film’s protagonists and their allies with both irreverence and a bold refusal to honor the status quo. It befits Ernest and Celestine (the pair and the prior film): two social outcasts who found friendship through art, who stuck together in the face of mutual xenophobia by their fellow bears and mice (a similar allegory that 2016’s Zootopia bungled). When individuals are allowed to be what they want, when musicians can play whichever notes they wish, does that not make our world – humans and sassy talking animals alike – richer and more beautiful?

Where the preceding television series Ernest and Celestine, the Collection was animated with computers, Chheng and Roger decided to return to hand-drawn animation for Ernest & Celestine: A Trip to Gibberitia. Says Roger in his non-native English:

There is a kind of emotion very, very specific to the drawing. It doesn't really work when it's CG. So we wanted to keep that kind of emotion, or very artistic part, as a part of the film itself. So that's why we came back to the animation, and we work in a specific way to give freedom to animators to express the feeling of the character just by their drawing and animation.

What I think Roger is attempting to say here is that, with a hand-drawn film, character expressions lead into the audiences’ emotional intuition better than computer-generated animation. There exists an expectation, implicit or not, that CGI animation should be “more realistic” than anything hand-drawn. This expectation does not exist with hand-drawn animation, and the rawness and immediacy of the craft lends to greater emotional engagement and work from the viewer. Chheng also added in that same interview that he did not want a “heavily rendered” work, and thought it appropriate to give their animators as much artistic freedom as possible while being respectful to the original illustrations by Gabrielle Vincent. The visible brushstrokes and various pencil scribbles call attention to the animators’ handiwork, and are a homage to those original Gabrielle Vincent illustrations.

Chheng and Roger make some changes in style from the first film. The watercolor style remains, but the white voids and intentionally incomplete exterior backgrounds are gone, with more detail packed into the frame for this sequel. Foregrounds, too are more detailed than before. These changes are probably due to the new setting of Gibberitia: a mishmash of Russian, Ukrainian, Moldovan, and Central Asian influences (Roger was particularly influenced by a trip he made through northern Pakistan into China). Gibberitia is eye-popping, a visual delight, and a more captivating animated production design than in the preceding movie.

Moreso than the preceding movie, the score drives much of the narrative. Vincent Courtois returns to compose another Ernest & Celestine film, and this is a more memorable outing than the first go. Courtois builds his score around two major themes – one that represents Gibberitia and another signifying the Musical Resistance (and a theme that often is heard from EFG’s saxophone). The best integration of both themes comes in “Appel à la resistance” – a zany combination of swinging saxophone and bandoneon. The Gibberitia theme, often heard with bandoneon and winds (and what may be ethnically appropriate strings), reflects the vaguely Eastern European or Central Asian setting of Ernest’s homeland. The chord progressions of the idea resemble Eastern European folk music (“Korobeiniki”, better known as the Tetris theme, perhaps the most popular). The eleven-note Musical Resistance motif (begins at 0:09 in previous link), is integrated throughout the score, slowly revealing itself and becoming more apparent as Ernest and Celestine learn more about the musical freedom fighters banding together to oppose Gibberitia’s nonsensical musical policy.

Courtois composed the score before any writing was complete. This is contrast to what usually happens in any and all filmmaking, where the score is usually one of the last things to complete. From there, Chheng and Roger crafted their film and set the action sequences to the rhythm and contours of Courtois’ music. Music drives the way in more ways than one in Ernest and Celestine: A Trip to Gibberitia, making the film not just a fun watch, but a wonderful listen (and that includes the end credits song “Qu-est-ce qu’on fait de l’amour?”, composed by Courtois and performed by Pomme).

Ernest and Celestine: A Trip to Gibberitia may not as accomplished as the first film, but this is a charming continuation of what came before. A decade separates the two Ernest and Celestine films. One hopes a third will not be so far away, but Chheng and Roger sound content to wait for the right reasons and story to come their way. Now undoubtedly each other’s best friend, Ernest and Celestine stake their claim as the premier odd couple of modern animated cinema. Celestine’s optimistic determination and Ernest’s streetwise know-how, together, help themselves and others. Free of cynicism, they continue to grow with each other, spreading the hallmarks of their unlikely friendship along the way.

My rating: 8/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

* This review is based on the original French audio with English subtitles. "Charabïe" definitely does not sound like "Gibberitia", but the word is derived from "charabia", which is French for "gibberish". Ultimately, the decision for English title lies with the original studio(s), not non-domestic distributors like GKIDS.

‡ More accurately, the slogan is, "C'est comme ça et pas autrement." More literally, this means: "It's this way and only this way."

Also in this series: Ernest and Celestine (2012, France/Belgium)

[thebutcher-5]

Ernest & Celestine

Benvenuti o bentornati sul nostro blog. Nello scorso articolo siamo tornati a parlare di horror, per la precisione di una commedia horror anni ’80 che mi ha sempre sorpreso per l’amore mostrato verso quel genere ossia Waxwork -Benvenuti al museo delle cere. La storia è ambientata in una tranquilla cittadina americana dove improvvisamente apre un misterioso museo delle cere. Il proprietario…

[jackirii]

here's a fanfic filled with some bear love written by the talented mythicwolf :)

go check it out!

[bestanimatedmovie]

Choose your favorite!

Battle of the friendships!

Vote in the other polls!

What fans say:

Ernest & Celestine:

The art is absolutely stunning. It's beautiful and tells such a sweet, caring story.

It's a heart-warming story about an unlikely friendship that overcomes prejudice and the animation is just adorable.

Liz and the Blue Bird:

It's a movie about two third years in high school who are about to graduate. They're childhood friends and they have to grapple with the fact that they'll have to part ways soon. It's a very introspective movie. They're part of concert band, and they're going to perform a song called Liz and the Blue Bird for a competition. The song is based off of a story book, also titled Liz and the Blue Bird, about a lonely girl named Liz who befriends a magical blue bird in the form of a human girl. The two start living together, until Liz realizes that the only way she can express her love is by letting the blue bird go. The main characters of the movie, Nozomi and Mizore, relate the book to their own relationship. Nozomi the extrovert is the blue bird, and Mizore the introvert, who's only friend is Nozomi, is Liz. Mizore believes she's holding Nozomi back from being the best she can be by clinging to her. But as the movie progresses, its revealed that Nozomi, who isn't as talented as Mizore, is actually Liz, holding Mizore back from realizing her true talent. (Or really, Mizore is holding herself back for Nozomi's sake)

[minch-makes-stills]

Ernest et Célestine (2012) dir. Stéphane Aubier, Vincent Patar, Benjamin Renner

[villanevehaus]

Hi haus! You may have already answered this before but do you have any movie recommendations (preferably wlw)?

HI ANON this is where i reveal that i have an alphabetized spreadsheet of every wlw movie i have ever seen with ratings, links, notes, and content warnings so yes i have movie recommendations.

personal wlw favs: it's in the water 1997 (campy comedy), thelma (thriller/horror), the handmaiden (thriller), bound (crime thriller w butch/femme), kyss mig (romance), but im a cheerleader (campy comedy), disobedience (drama).

honourable wlw mentions aka the ones i would recommend: the incredibly true adventures of two girls in love (cute teen romance), battle of the sexes (billie jean king!), portrait of a lady on fire (drama/romance), the hours (drama/history? unique), elena undone (romance- i am contractually obliged to mention this bc of eve undone), DEBS (campy goofy spy), desert hearts (50s western- i am contractually obligated to mention this bc of borrowed boots), imagine me & you (comedy/romance), pariah (drama), the world unseen (historical/drama), i cant think straight (comedy/romance), freeheld (drama, based on a true story).

personal non-wlw favs: RAW (horror/thriller), the lobster (thriller?/romance), HER (romance/sci-fi), moonlight (drama), black swan (psychological thriller), sharp objects (psychological crime drama- its a series but idc), annihilation (cosmic sci-fi), fight club (fight club), the shape of water (romance), amélie (amélie), thoroughbreds (black comedy).

personal animated favs: prince of egypt (story of moses), spirited away (fantasy), who framed roger rabbit (comedy), wall-e (wall-e), ernest et célestine (cute!!!).

personal horror favs: RAW, the thing, american psycho, SAW series (amanda i love u), jennifer's body (is also wlw!), get out, silence of the lambs, carrie, scream series, ready or not, titane, nope, rocky horror picture show, stoker.

♡ movies ♡

[akasanata]

Best animated movie!

Choose your favorite movie: The heart-warming story about an unlikely friendship that overcomes prejudice, or the struggles of orphan Felicity in her quest to become a ballerina.

Vote on the other polls of Round 1

[musing-and-music]

I've been tagged by @magipies an eternity ago, but here we are!

3 ships: Royai (FMA), Jaime/Brienne (ASoIaF), Cassian Andor/Jyn Erso (SW Rogue One) (now I want to rewatch it)

Last song: Leave Out All The Rest - Linkin Park

Last movie: Ernest et Célestine

Currently watching: Young Lady and Gentleman (one episode when I have the time)

Currently reading: Alma, Le vent se lève by Timothée de Fombelle

Currently consuming: Open your eyes by Ellaria

Currently craving: Coffee, but that'll be in five minutes

Tagging @klainelynch @wind-on-the-panes @vayalda @onthearrow and anyone who wants!