I Lost My Body opens up an enthralling and mysterious motive that never truly reveals itself

There is absolutely a tendency to believe that award winning animation needs to come from a film aimed at an audience of children. Adult animation is often limited to crude sitcoms or quirky standalones, but a section of the industry is certainly reserved for the sentimental and outrightly poignant features that seep into the independent film release schedule.

I Lost My Body follows two simultaneous stories as young Naofel (Hakim Faris) leaves his abusive home to become a carpenter’s apprentice in Paris side streets, driven by his secret admiration for Gabrielle (Victoire Du Bois), the carpenter’s young niece. Meanwhile, a severed hand breaks away from its captors, seeking refuge from the terrors of the city, desperate to find its previous owner.

I Lost My Body

Beautiful in its look and styling, I Lost My Body often falls far from beautiful in its actualisation. Under it’s superficial skin, there’s a real sense of longing and want that drives actions many would often consider too much and overbearing. Yet Naofel’s drive to get what he desires, though often small goals, gives I Lost My Body a moral edge with a strong punch.

Combine this with the hand moving around Paris in what is essentially a silent film, the feature opens up an enthralling and mysterious motive that never truly reveals itself. For a film so straightforward in plot, the mystery Jérémy Clapin has sewn into the film’s make up is genuinely exciting.

I Lost My Body’s calm exterior could underwhelm easily if its deeper ideas and motifs aren’t fully recognised, but when looking at it as a broader more expansive piece, it genuinely has so many bizarre and strange ideas to offer, it’s almost impossible to not crave a second or third watch, just to catch any detail that may have slipped away.


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