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Renaissance (2006)

6.8
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Ratings: 6.8/10 from 12,878 users   Metascore: 57/100
Reviews: 89 user | 112 critic | 17 from Metacritic.com

In 2054, Paris is a labyrinth where all movement is monitored and recorded. Casting a shadow over everything is the city's largest company, Avalon, which insinuates itself into every aspect of contemporary life to sell its primary export -- youth and beauty. In this world of stark contrasts and rigid laws the populace is kept in line and accounted for.

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(original story), (original story), 5 more credits »
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Title: Renaissance (2006)

Renaissance (2006) on IMDb 6.8/10

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Cast

Cast overview, first billed only:
...
Barthélémy Karas (voice)
...
Ilona Tasuiev (voice)
...
Jonas Muller (voice)
...
Nusrat Farfella (voice)
...
Bislane Tasuiev (voice)
...
Paul Dellenbach (voice)
Robert Dauney ...
Karas (voice)
...
Bislane (voice)
Isabelle Van Waes ...
Ilona (voice) (as Isabelle Van Waess)
...
Dellenbach (voice)
Marco Lorenzini ...
Muller (voice)
Jerome Causse ...
Amiel (voice)
Clémentine Baert ...
Nurses (voice)
...
Parisian (voice)
David Benito ...
Nayhib (voice)
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Storyline

Paris, 2042: a dark motion-captured world of shadows and right angles. Ilona Tasuiev, a brilliant young scientist, is kidnapped, and her employer, Avalon, a major health and beauty corporation, wants her found. Karas, a jaded police captain, is assigned to find her, fast. He seeks help from her sister, Bislane, and they are soon uncovering identify theft, missing files, and hints that something back in 2006 may explain what's going on. Ilona's mentor, Avalon's vice president, a Japanese researcher, an underworld boss, and Bislane's drug connection all figure in the mix. So does an attraction between Karas and Bislane. What's behind the kidnapping? Who's the victim? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Taglines:

Paris 2054. Live forever or die trying.


Motion Picture Rating (MPAA)

Rated R for some violent images, sexuality, nudity and language | See all certifications »

Parents Guide:

 »
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Details

Country:

| |

Language:

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Release Date:

15 March 2006 (France)  »

Also Known As:

Renaissance  »

Box Office

Budget:

€14,000,000 (estimated)

Opening Weekend:

$10,800 (USA) (22 September 2006)

Gross:

$63,260 (USA) (13 October 2006)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Renaissance took six years to complete on a budget of 15 million dollars. See more »

Goofs

The movie is set in 2054, this is shown at the beginning, where the date "Oct 12 2054" is given in the Avalon advertisement. Throughout the movie, Ilona is said to be 22 years old, so she should be born around 2034. However, when she is abducted in the beginning, her passport is falling to the ground and her date of birth is visible as "24/06/2020". So either the movie plays in 2042 or the d.o.b. in her passport is wrong. See more »

Quotes

Jonas Muller: Without death, life is meaningless.
See more »

Connections

Referenced in Dans la tête de Christian Volckman (2006) See more »

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User Reviews

 
Melts noir and sci-fi in an animation blender (my 200th review!)
19 October 2006 | by (Sweden) – See all my reviews

A Scanner Darkly, Minority Report, Blade Runner, Sin City and Sky Captain and the World of Tomorrow – if you are a fan of any of these then this will be well worth checking out.

French animation project 'Renaissance' took seven years to make on a shoestring budget and tonight I finally got to see it at a private screening for the International Film Festival in Stockholm. My spontaneous reaction is awe; my further reflection is 'huh, neat' and closer analysis regrettably gets a resounding 'meh'. It is a gorgeous science fiction triumph on the surface, but scratch it or even poke it a little and its unnecessarily complex plot becomes glaringly apparent, as do the flat characters.

Nevertheless it is clear that the people at Onyx films have done something spectacular with the aforementioned surface. The visuals are staggering. They have used live action motion capture fitted into key-frame animation, with stark jet black and bright white contrasts and a heavily shadowed rotoscoped background. For those of you who are not down with the 'technical lingo', the film looks like a fully-animated Sin City. Its fluid, transparent, dark and stylized template is complemented by great lurid lightning. It's a vision. Yet much credit is also due to the crisp sound effects that take the form of humming futuristic weapons, suspenseful music, heavy raindrops and glass shards breaking. It's every tech-nerd's wet dream...

The film zooms in on an eerily-lit, bleak, futurescape Paris in which a major corporation called 'Avalon' has begun to interweave in the lives of the citizens with surveillance (think the fluid transparent screens from Minority Report) and genetic engineering. The latter leads to a mysterious kidnapping of young researcher Ilona (voiced by the lovely Romola Garai). Cut to our hard-boiled cop-on-suspension and protagonist Karas (Daniel Craig) – a man who takes the law into his own hands – who is assigned the case of finding and retrieving Ilona. During this case, he is being aided by Illona's sister with whom he also begins a love affair. A very half-assed love affair, if I may say so.

The world of Renaissance is remarkable. Director Christian Volckman takes a fair jab at melting the noir themes and the result is an urban jungle filled with cads, rats, femme fatales and lonely detectives that hide in the shadows of the seedy slum. The problem is that the creators undoubtedly felt the need to have extremely clear and spelled-out archetypes in the story, or the film would have been "too surreal" for mainstream audiences, owing to its lurid animation format. It follows then that we have a multitude of clichéd characters such as evil-laughing villains, sleazy crime bosses and butch tough-chicks who blow smoke every chance they get. It shoves noir in our faces, and it isn't necessary.

What is worse is that the dialogue is a little contrived. It seems as though every line exists for the sole reason of propelling the plot. This is nothing fatal because the plot is so complex once it gets going that it needs some clear direction. Daniel Craig helps here too by bringing a no-nonsense attitude to his hard-edged cop character. At one point in Renaissance, he is seen in a vivid car-chase that surely is one of the most adrenaline-pumping and top notch sequences of the film. Unfortunately, the novelty of the sci-fi visuals have worn off post this car chase and 'Renassaince' could benefit from being slightly shorter. In summary, a very interesting but flawed futuristic comic book experience.

7 out of 10


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