7.3/10
519
3 user 16 critic

Couleur de peau: Miel (2012)

Not Rated | | Animation, Biography, Drama | 6 June 2012 (France)
Comic-book artist Jung returns to Seoul for the first time since he was abandoned at the age of 5.

Directors:

Laurent Boileau, Jung

Writers:

Laurent Boileau, Jung (also graphic novel)

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From $2.99 (SD) on Prime Video

3 wins & 5 nominations. See more awards »

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Cast

Credited cast:
Maxym Anciaux Maxym Anciaux ... Cédric à 8 ans (voice)
Cathy Boquet Cathy Boquet ... Gaëlle à 14 ans (voice)
Mahé Collet Mahé Collet ... Valérie à 3 ans (voice)
Christelle Cornil Christelle Cornil ... La mère adoptive de Jung (voice)
William Coryn William Coryn ... Jung adulte (voice)
Jean-Luc Couchard Jean-Luc Couchard ... Le père adoptif de Jung (voice)
Aaricia Dubois Aaricia Dubois ... Coralie à 8 ans / Coralie à 6 ans (voice)
Alayin Dubois Alayin Dubois ... Coralie à 5 ans / Gaëlle à 5 ans (voice)
Arthur Dubois Arthur Dubois ... Jung à 8 ans (voice)
Nathalie Homs Nathalie Homs ... Bonne Maman (voice)
Jung Jung ... Himself
David Macaluso David Macaluso ... Jung à 17 ans (voice)
Jazz Marlier Jazz Marlier ... Catherine à 7 ans / Valérie à 12 ans (voice)
David Murgia ... Cédric à 17 ans (voice)
Pauline Souren Pauline Souren ... Carole à 12 ans / Valérie à 12 ans (voice)
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Storyline

European on the heads side, Asian on the tails side. Cartoonist. 42 years old according to his civil status, Jung prefers to place his birth at the age of 5, when a policeman found him wandering alone on the streets of Seoul. He is one of those 200 000 adopted Koreans spread around the world. Jung decided to return, for the first time, in South Korea, in order to breath the air of his home country, tread the land of his ancestors, and maybe find traces of his biological mother. This trip of reconciliation with his roots and with himself, shot as a documentary, leads our character to recall in animation Written by Anonymous

Plot Summary | Add Synopsis


Certificate:

Not Rated | See all certifications »
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Details

Official Sites:

Official Facebook | Official site | See more »

Language:

French | Korean

Release Date:

6 June 2012 (France) See more »

Also Known As:

Approved for Adoption See more »

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Box Office

Budget:

€3,700,000 (estimated)

Opening Weekend USA:

$4,015, 8 November 2013, Limited Release

Gross USA:

$4,015, 8 November 2013
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Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

French visa # 126155. See more »

Soundtracks

Danse des cygnes (Swan Dance)
, extrait de l'acte II du ballet "Le Lac des cygnes" (Swan Lake)
Composée par Pyotr Ilyich Tchaikovsky
(1975-1976)
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User Reviews

 
Special and unique, but somehow not as powerful for me as I wished
30 December 2014 | by runamokprodsSee all my reviews

A heartfelt, unique, mostly animated film, this off-beat documentary is the autobiographic tale of co-director Jung's adoption in Korea by a Belgian family when he was a young orphan. It gives a good sense of the strangeness of leaving your homeland and culture at age 5, and the difficulties of growing up in with a family where you don't look like everyone else.

It's particularly effective at capturing the lingering paranoia that you're not always loved as deeply as the 'real' kids, and suggests there may even be some hints of truth in that fear re Jung's adoptive parents, at least from a child's perception. And yet the film is ultimately embracing of his adoption, without denying its challenges.

Jung himself has grown-up to be a successful illustrator, and his drawings form the basis of the animation that make up about 80% of the film (the rest are old home movies and stills, along with shots of the adult Jung pondering, and visiting Korea).

So why don't I love the film more? It's brave, honest, and different. But it sometimes feels both emotionally muted and repetitive. As personal as the story is, the stylistic choices, while interesting, make it feel like a fable more than a person's real experience. This is fed by the adult Jung's narration being read by an actor, not the man himself. And there is something artificial in the performance.

I watched the film twice, and appreciated it both times, but was never quite as swept up in it as I longed to be. That may be my loss, my limitation. I can imagine someone else being deeply moved. One to see for yourself.


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