Connoisseurs of digital animation, graphic novels, and the history of dystopian art will have plenty to discuss about Christian Volckman’s visually striking, technically impressive black-and-white animated feature Renaissance, set in 2054 Paris, when advances in the field of age reversal are co-opted by corporate greed. Behold the influence of Metropolis, Blade Runner, Sin City — and on and on. But no one will be talking about the movie’s banal plot, the trite dialogue, or any of the indistinguishable characters who offer a bleak futuristic vision of cinema that’s all style, no soul.

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