Hege, Bjørn, and Romain face grief, isolation, and uncertainty in Heidi Ewing and Rachel Grady’s Folktales, a documentary that trades trolls for emotional trials and the supernatural for self-discovery. With some people heading back to school, they may want to be aware other programs exist to help them deal with post-secondary.
In Norway’s far north, where winters stretch long and the aurora paints the sky, a group of young adults sets out on a modern hero’s journey. Heidi Ewing and Rachel Grady’s documentary Folktales doesn’t follow Vikings clashing with trolls or giants. Instead, its battles are quieter yet no less daunting: grief, fear, and the uncertainty of growing up. Unlike the heroes of the Eddas, these youths don’t all stride forward with courage, but they still answer the call. The film follows three 19-year-olds each weighed down by their own struggles.
Hege spends her nights partying, still drifting after losing her father many years ago. Bjørn shrinks from new friendships, convinced he is an outcast. Romain has withdrawn even further: he dropped out of school and hides from the world in fear. None of them knows what future to pursue, but all crave change. That chance comes through the Pasvik Program (Pasvik Folkehøgskole), a modern version of Norway’s folk schools. First established in the 1840s to bring education to rural areas, these schools were never about diplomas. They offered reflection, skill-building, and community. In Finnmark, this offering continues that tradition by inviting young people to take part voluntarily in an immersive experience—one that tests them both physically and emotionally.
Iyanu brings Yoruba culture to life with vibrant storytelling and striking animation, standing apart from Disney’s futuristic Iwájú. And we got info from SDCC regarding the former’s future. It’s bright!
If you’re seeking an animated series that fuses vibrant cultural storytelling with striking visuals, put Iyanu on your radar. This isn’t just another fantasy—it’s a journey through a mythical African world where tradition drives destiny. Unlike Disney’s Iwájú, Iyanu offers a grounded, heritage-rich take on Yoruba culture that feels timeless and authentic. The two shows present contrasting visions, and while both have their place in examining this fascinating world, fans will play favourites–Iwájú races through a sleek, futuristic Lagos, while Iyanu thrives in a mythical past steeped in lore.
Iyanu draws strength from echoes of Princess Mononoke and Avatar: The Last Airbender—not as imitations, but in its balance of adventure, character growth, and cultural depth. Whether Roye Okupe’s graphic novels carry the same energy remains to be seen, but the adaptation compels me to find out.
Disney’s Iwájú ambitiously blends African, Eastern, and Western animation styles, yet the fusion sometimes feels disjointed. Its uneven pacing and high-tech, Wakanda-like aesthetic often eclipse traditional Yoruba elements. Tola Martins (Simisola Gbadamosi) is the young girl who learns how to reconnect with the past.
When that happens, the scenes that should showcase ceremonial rites or folklore fade into the background. In what’s more prominent are the bold neon skylines and high technology. Even the costumes, while bold, lean toward sci-fi glamour rather than authentic tradition. Although it shares Yoruba roots with Iyanu, its futuristic framing dulls the impact of those cultural beats.
Clara Trevisan’s Mother of Dawn is a haunting stop-motion short that explores cosmic creation and transformation—without a single word of dialogue.
This work is part of the Circo Animato 2025 Short Film Program that played at Fantasia Film Festival 2025
Clara Trevisan’s Mother of Dawn is a mesmerizing stop-motion short that lands somewhere between a cosmic fairytale and a handcrafted fever dream. Running just under eight minutes, the film doesn’t rely on dialogue, exposition, or conventional storytelling—and that’s precisely why it resonates. It invites you to feel, not just watch.
What immediately stands out is the animation style. As someone used to the dark whimsy of Tim Burton or the polished fantasy of Studio Laika, I wasn’t expecting something so raw, textured, and unapologetically surreal. If I had to compare it to anything, it would be Phil Tippett’s Mad God (which also screened at Fantasia Film Festival), though this leans less into chaos and more into cosmic poetry. The design is otherworldly—vivid and dreamlike one moment, then barren and eerie the next. It feels pulled from some subconscious mythos, and it’s unlike anything else on the festival circuit right now.
Although Ne Zha 2 was years in the making, the wait is worth it! This superhero style retelling of the Chinese novel Investiture of the Gods is all about the wow rather than being fully faithful to the source material.
Spoiler Alert
Anyone who loves the 2019 Chinese animated film about a spunky demon-child (no, not Lil’ Hellboy) will be glad to know Ne Zha 2 is finally here. Having some knowledge of the prior events (or reading my movie review from before and my past coverage) helps because this latest takes place moments after.
Both this kid (Lü Yanting) and Ao Bing (Han Mo) have no mortal shell, and if they don’t have a simulacrum to inhabit, they’ll soon dissipate. Thankfully, with Taiyi Zhenren (Zhang Jiaming) around, a possibility of getting their bodies back exists. However, all do not go according to plan. When the Sacred Lotus lacks the power to build, the result is ectoplasm! This leads to a hilarious intro, and I was in stitches.
When Creation of the Gods 2: Demon Force is similar in scope to other classic pieces of epic literature far and wide, the set pieces are well earned!
Well GO USA Release Date: Jan 31, 2025 Please check local listings for screenings near you
All of Ancient China and Heaven are in danger when the Twelve Golden Immortals debate resurrecting Yin Jiao (Fei Xiang), the Crown Prince of Shang (also known as Yin). In the first film, he got killed in battle and now exists in limbo. With this prologue in Creation of the Gods 2: Demon Force in place, just what that means in the mortal world can be anything! When all he wants is revenge, he can’t ascend, and guardians can either turn him into a herald or help him move on.
As for how much of a role he has to play, it’s not as obvious.. This movie trilogy chronicling the mythical end of the Shang dynasty is more about the action than the soap opera. That’s because this individual’s father, King Yin (named Wu in the book; played by Kris Phillips), lost his way because one of his consorts, Daji (Naran), became possessed by a jiuweihu, a fox spirit. This trickster warped his mind. And when the Gods from Heaven send their own team to investigate, things get rather chaotic fast. There’s treachery afoot everywhere!
In this latest instalment, Deng Chanyu (Nashi), a local fighter, pledges to the Shang king that she can bring the hostage-son, Ji Fa (Yosh Yu) to face prosecution. He’s the son of King Wen of Zhou and the complex web of who is killing whom is just as convoluted as a Shakespearean play. Crib notes about the novel Investiture of the Gods are required to keep track on who is betraying whom, what the word ‘Zhou’ represents as a title, region or family connection (even I got confused!) and who are teaming up to bring Wu down.
In this world, a fair number of fantastic beasts are choosing sides. One group wants harmony back, the other is conspiring for the opposite. When Jiang Ziya (Huang Bo, pictured below) has the key that can control the gods he’s also a target! This magical list known as the Fengshen ba names all the Chinese gods in existence, and whoever knows the true identities can also control fate.
When this movie bounces back and forth between tracking down this macguffin and Ji Fa attempting to evade Chanyu, it’s easy to lose track of what’s going on. Anyone who knows the novel, The Investiture of the Gods, is in a better place. This adaptation never looked better in live-action. When the animated take is slow because the storytellers want to explore the backstories of the supporting characters, this cinematic presentation wastes no time with lengthy explanations.
Three movies are apparently enough to chronicle the transition from one dynasty to another. The presentation contains many scenes that rival the cinematic Lord of the Rings trilogy for action. And although the special effects are not up to WETA standards, the fights are still impressive. The best comes last (three post-credit scenes surpass the entire film), but regarding the main film, I believe the studios wanted to keep the look consistent rather than improve upon the former film.
Although those CGI moments are very obvious, the Four Great Heavenly Kings (giants) are not. This film uses the same technique found in Peter Jackson’s film to represent the characters’ varying heights. The inclusion of three conjoined upper torsos and arms on another body suggests a bit of Vedic lore in this tale. Although I missed catching his name, this entity has a significant role in the narrative. I’m fairly sure he wasn’t the storm god Leizhenzi in disguise–I’d have to rewatch this long film to confirm. Between all the folklore and daoism going on, director Wuershan downplays any morality lessons in favour of more action.
As for the fox spirit, what she’s doing is for something much worse! Hopefully that release will be scheduled for next year. Unlike other movies adapting Xu Zhonglin’s novel, this one promises to get to the huge climax that ends this story once and for all. It’s about time!
After Fantasia Film Festival 2024, Google Search says Mantra Warrior is destined to Netflix next!
Played at Fantasia Film Festival on July 21, 2024 1:50 PM
Every country has a legend, and in Thailand, The Ramakien is one of several epic tales that paint a solid picture of good triumphing over evil. Here, King Rama and Tosakanth are opposites, and when the latter kidnaps the queen because he’s in love with her, this lord will fight back! What’s presented in Mantra Warrior: The Legend of the Eight Moons requires knowing the source material to truly appreciate it; otherwise, what’s presented like a Siamese version of Final Fantasy on steroids.
That’s because of the bold character designs and colour choices used to bring this mythic world to life. I want to compare this work to Gundam because of all the giant robots featured. Even though they look nothing like, the fact they carry oversized weapons with crazy nicknames is enough to make me think that director Veerapatra Jinanavin had this anime in mind!
In Norway’s far north, where winters stretch long and the aurora paints the sky, a group of young adults sets out on a modern hero’s journey. Heidi Ewing and Rachel Grady’s documentary Folktales doesn’t follow Vikings clashing with trolls or giants. Instead, its battles are quieter yet no less daunting: grief, fear, and the uncertainty of growing up. Unlike the heroes of the Eddas, these youths don’t all stride forward with courage, but they still answer the call. The film follows three 19-year-olds each weighed down by their own struggles.
If you’re seeking an animated series that fuses vibrant cultural storytelling with striking visuals, put Iyanu on your radar. This isn’t just another fantasy—it’s a journey through a mythical African world where tradition drives destiny. Unlike Disney’s Iwájú, Iyanu offers a grounded, heritage-rich take on 
Disney’s Iwájú ambitiously blends African, Eastern, and Western animation styles, yet the fusion sometimes feels disjointed. Its uneven pacing and high-tech, Wakanda-like aesthetic often eclipse traditional Yoruba elements. Tola Martins (
Spoiler Alert
