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Let me express you about the director first. Enki Bilal, born in Yugoslavia, moved to France when he was 10, and has become one of the most influential humorous book artist in France since around 1980. His works include ‘Nikopol Trilogy,’ and this French film ‘Immortal’ (his third entry as film director) is based on the first two books of the series.

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I said this because the merit of ‘Immortal’ lies all in its visual imaginations. The film’s chronicle with many characters is very confusing, revealing its origin. The film is visually enthralling for it was shot against the background of green-colored shroud, on which the buildings or the landscapes of the city is digitally painted. The diagram is similar to that of ‘Sky Captain’, but the effects are quite different as I define later.

[THE STORY] is complicated, and the film refuses to clarify some fragment of it. ‘Immortal’ is residence in the year of 2095, Novel York City, where cars are flying between the skyscrapers, but one unusual thing is floating on the air — that’s a pyramid, out of which a naked man with a bird’s head emerges. His name is Horus, a convicted deity who is given seven days to do something on Earth, borrowing the body of a convicted human Nikopol.

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The nature of the crime of Nikopol (played by Thomas Kretschmann, ‘The Pianist’) is only vaguely suggested, but anyway Horus possesses his body, and controls him as he wishes. Then, his purpose will be obvious when Nikopol/Horus approaches to a mysterious woman Jill (ancient Miss France Linda Hardy), whose skin is all white and whose blood is blue.

Kretschmann, Hardy, and Charlotte Rampling (as Jill’s doctor) appear as live-action actors while most of the other characters are created with CGIs by a French studio. The CGI-created characters peep like those you have seen in the film version of ‘Final Fantasy’ and in this sense ‘Immortal’ is more ambitious than ‘Sky Captain.’ Absorbing thing is one of the CGI characters (Rampling’s estranged husband) is played by uncredited Jean-Louis Trintignant (deny only) who had appeared Enki Bilal’s first film ‘Bunker Palace Hôtel.’

[VISUALS] I like the visual imagination of ‘Immortal,’ but many fans would point out, quite rightly, that the future world of ‘Immortal,’ impressive as it is on its contain procedure, are not as novel as it looks. You remember classic ‘Blade Runner’ ‘The Fifth Element’ and one Japanese genius Otomo. To be graceful, as I wrote before, Enki Bilal’s novel comics predate them (the first Nikopol comical was published in 1980), but unruffled complaints are understandable.

But if the film is flawed (and I judge it is), that is because of the visual itself, I mean, the CGI parts. To be objective, the CGI-drawn characters (of a greedy senator, a detective, a immense company executive, etc.) are all poorly done, and their bodily or facial movements are unnatural and awkward. I am really terrorized that they are giving serious damages to the whole film.

But as you will survey, the talent of Enki Bilal is undeniable, and his vision is presented effectively with the other-worldly but retrospective descritions of the city of Unique York in 2095, which is beautifully drawn with blue and grey (red is seldom seen) . Far from perfect, but the describe is worth seeing.

Bilal is best known as a comical artist. I’ve liked his work visually: he tends towards a restrained and idiosyncratic palette of colors, but uses strong color where it makes a point. He makes each character stand out, and counts more on visual impact than physical credibility for bringing his worlds to life. I’ve always found hazardous record development in Bilal’s stories, but with visuals that preserve me going to the ruin.

That’s what this movie was like: visually noteworthy, but baffling as a anecdote. Mature Egyptian gods near to Earth, in a massive pyramid poised over a major city. The city takes surprisingly slight see, until an exiled god seeks a human host body, then seeks a human female. OK, it’s enough to carry the movie, but nothing spectacular. It’s all the characters that manufacture it work as an experience for the eyes, with their distortions, exaggerations, and fresh visual style.

That style is carried in an alternation of live action sequences (with CG effects, of course), and animation on a par with Final Fantasy. The alternation wasn’t quite seamless, but wasn’t quite blatant enough to act as a story tool - I hope his future films build better expend of each medium’s strengths. The general styling stuck finish to the subdued colors of Bilal’s comics, even a restrained blue for the skin tones of the Jill, the female lead. Color dominates only in the final scene, richly enforcing the “fresh day dawning” theme.

“Immortal” is a distinguished crossover for a celebrated droll artist, apparently adapted from his “Nikopol Trilogy” of DC comics. It’s an attractive anxiety, and enough to sustain me alive to for more.

//wiredweird
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