Two legends of animation: León and Cociña conquer international critics with their new film

Chilean filmmakers Cristóbal León and Joaquín Cociña have made a splash at the 79th edition of the Locarno Film Festival in Switzerland with their third feature film, Princess Donkey, which premiered last Friday. The movie, competing for the prestigious Golden Leopard award, has been met with enthusiastic responses from both audiences and critics. Described as "seductive" by Variety, "madly inventive" by Le Monde, and "audacious and visionary pure art" by the International Cinephile Society (ICS), the film marks a new chapter for the duo known for blending animation with live-action storytelling. The film opens in an ancient kingdom where love is forbidden, directly affecting Princess Diana, played by Antonia Giesen, daughter of King Arthur, portrayed by Francisco Melo, whose queen died after childbirth. Diana falls in love with Lalo, played by Andrew Bargsted, who gives her a bracelet allowing her to travel through different worlds. This narrative draws inspiration from Charles Perrault’s Puss in Boots but is adapted freely into a tale that explores themes of love, fantasy, and the multiverse. According to reports, the film combines a larger budget and more expansive settings than previous works while maintaining the directors' signature hybrid approach, blending 2D animation, stop-motion, and 3D animation. The artistic direction, led by Natalia Geisse and cinematography by Benjamin Echazarreta, emphasizes vivid colors and imaginative visuals. This creative effort has drawn praise for its unique aesthetic and narrative depth. Critics have highlighted how Princess Donkey continues the filmmakers' exploration of hybrid cinema but returns them to the realm of adult fairy tales. Variety noted that this latest work surpasses their previous film, The Hyperboreans (2024), which was described as having a dense and narratively abstract mix of history, psychology, and political theory. In contrast, Princess Donkey offers a more universally accessible story while retaining the surreal elements that define León and Cociña's style. The ICS praised the film for containing some of the most original images ever seen on screen, emphasizing its surrealism and sincerity. Unlike many other artists associated with surrealism, León and Cociña approach the genre with genuine depth rather than simply rejecting conventional cinematic styles. The society went further, suggesting that the pair might be poised to take over from notable surrealist filmmakers such as David Lynch and Alejandro Jodorowsky, whose influence is evident in both the social and visual aspects of the film. Cineuropa echoed these sentiments, calling the film a hallucinatory journey that challenges the boundaries of cinema. While the stop-motion 2D animations evoke the magic of early cinema, the underlying darkness infusing the story gives the film a contemporary and almost apocalyptic feel. This blend of old and new aesthetics has resonated strongly with critics and audiences alike. León expressed his gratitude for the positive reception, stating that the acclaim makes him feel both old and happy. He mentioned receiving spontaneous positive feedback from people they've met at the festival and emphasized that those connecting with the film do so deeply, which he finds encouraging. The filmmakers seem content with their current trajectory, confident in their ability to continue pushing the envelope in the world of cinema. As the festival progresses, the international response to Princess Donkey will likely shape its future prospects. With awards season approaching, the film could gain additional momentum, potentially leading to wider distribution and recognition beyond the festival circuit. The success of this project underscores the growing influence of Chilean cinema on the global stage, particularly in the realm of experimental and hybrid filmmaking.