An aging, out-of-work actress accepts one last job, though the consequences of her decision affect her in ways she didn’t consider.
I’ve been wanting to check this movie out of sheer curiosity. The idea of mixing animation with live-action is tricky, and I always wonder how a filmmaker would pull this off. This is from the same filmmaker who brought the Oscar-nominated Waltz with Bashir, Ari Folman, and I must say The Congress is an ambitious and absolutely bizarre film. Whether or not the film works for you depends on how much the eccentricities bothers you, plus the structure of the film is also not straightforward to make it digestible. But the way I see it, I’m glad I saw it and the thing with certain art form is, one can still appreciate it even if we don’t fully comprehend it.
The story is loosely based on Stanislaw Lem’s sci-fi novel The Futurological Congress. In the film, Robin Wright plays a fictionalized version of herself as an aging actress and single mother of two, and her son’s hearing and eyesight are slowly deteriorating. A Hollywood mogul from Miramount (Miramax & Paramount) offered to buy the film rights of her digital image so in the future studios could make films using only CGI versions of her, provided that she’d never act again anywhere.
It’s twenty years later when her contract’s about to expire that the animated adventure came alive. At the entrance of Abrahama City, where Robin is to attend Miramount’s “Futurological Congress,” she’s given a chemical so she transform into an avatar of herself in order to enter the strict animated zone. Trippy is the word I would use here and I can’t even begin to explain what the plot is about.
In fact, when the movie’s over, I thought ‘what the heck was it that I just watched??’ Part of the film seems to be a commentary or satire on the mercenary nature of Hollywood, but other times it’s a mother-son story, and then there’s a love story between Robin and Dylan (voiced by Jon Hamm), who claims to be her animator. It’s hard to tell what it’s about, it’s really quite discombobulating as things get more colorful and more surreal. You’ll notice a bunch of famous people in the animated world, from deity, famous entertainers, sports figures, etc.
The fact that the film somehow still retains my interest is Wright’s heartfelt performance, even in her animated format she’s always engaging and sympathetic. The supporting cast are excellent too, Harvey Keitel as Robin’s agent, Kodi Smit-McPhee as her son, and Danny Huston as the studio mogul. The most emotionally engaging moments are between Robin and Paul Giamatti who plays the kind doctor who treats her son.
The altered sense of realism is to be expected in a live-action/animation hybrid format, but messy structure of the film highlights the narrative problems. I kind of knew going in this film would not be an easy watch however, but still it can be frustrating. I think some people would have serious issues with the film, much like they would with say, Holy Motors, and I can’t say I blame them. But there are some enjoyable and funny moments, I always appreciate originality even if it’s a little on the bizarre side. I’d love to connect more with it and the characters, but overall it’s got enough going for it to warrant a recommendation from me.