This film is part of the 2015 New York International Children’s Film Festival
It’s been quite a few years since I’ve been able to attend the NYICFF. While in the past I mainly prioritized Japanese animated films, I’ve recently been making more an active effort to diversify my interests in animation. Hearing others talk about the frequently stunning visual presentation of French animated films, I decided to take a look at Mune.
An important note to readers from anime and manga fandom: it’s pronounced “Myuun,” and is not about what you think it is.
Directed by Alexandre Heboyan and Benoît Philippon, Mune centers around a world where the sun and moon were brought to the planet long ago, and the guardians who must guard the movements of these celestial bodies. The protagonist of the film is a night creature named Mune, who despite viewing himself as a nobody, ends up in an unlikely position of power and responsibility.
I found Mune to be a film whose main strength was the portrayal of an intriguing world that revolves around the clever elaboration of its own creation myth. The way the planet divides between day and night, the designation of creatures that thrive not only in day or night, but also dawn and dusk, and especially the designs of the inhabitants all worked to give a sense of a living world. What most impressed me were the towering giants that pulled the sun and moon across the sky, one a four-legged rock golem, the other a camel of sorts, though I also need to mention the antagonist Necross, a dark and menacing figure with a waterfall of lava continuously pouring out of his chest. Another notable aspect of its visuals is that Mune uses primarily 3DCG animation but occasionally switches to traditional 2D animation when presenting either stories of the past or other worlds.
However, when it comes to narrative and characterization, Mune falls short where it matters most, in Mune himself. While other important characters have some sense of growth throughout the movie, such as the well-meaning but arrogant sun guardian Sohone who learns the importance of selflessness, Mune changes, sort of, but it feels incomplete. This is not to say that a protagonist necessarily needs “character development,” but the film specifically sets him up to have a character arc where he discovers that the true power was in him all along. The issue is that Mune’s realization of confidence is not only rather abrupt, but doesn’t really require him to learn anything. If this were a Dreamworks film, I could picture them overlaying I’ve Got the Power. Similarly, one of Necross’s demonic minions is shown to struggle with the idea of being “evil,” and I had assumed this would set him up to contribute to the plot more, but he mostly ends up as comic relief.
A lot of similarities, though perhaps mostly surface ones, can be drawn between Mune and Disney’s Hercules. I feel that, if the film had borrowed more of the character progression that the latter shows, then it could have been more complete in its storytelling. While a work of animation can certainly succeed without the need for denouement and all that by focusing on its aesthetic qualities, Mune comes across as being stuck somewhere in the middle.
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