Stopmotion – Film Review

Robert Morgan, primarily known for his striking and macabre short films, makes a seamless transition to the feature-length format with Stopmotion, a live-action/adult animated psychological horror film that effectively blurs the lines between creator and creation. Co-written with Robin King, Morgan’s feature debut is a dark and mesmerizing exploration of art, obsession, and identity, anchored by a compelling lead performance from Aisling Franciosi.

Franciosi stars as Ella Blake, a young woman grappling with the heavy burden of finishing her mother Suzanne’s (played by Stella Gonet) final stop-motion film. Suzanne, a celebrated animator now incapacitated by arthritis and later a coma-inducing stroke, leaves Ella with not just the technical challenge of completing a film, but the emotional weight of fulfilling her mother’s dying wish. This premise sets the stage for a narrative rich with metaphors for creation, loss, and the tangible remnants of those we love.

The integration of live action and stop-motion animation is seamless, serving as a testament to Morgan’s roots in animation and his profound understanding of its potential to tell deeply human stories. The animated sequences, though fantastical, convey a sense of tangible emotion, becoming a visual representation of Ella’s internal struggles.

However, it is when Ella decides to embark on her own project, inspired by a mysterious girl in her building, that the film truly delves into its horror elements. The shift towards crafting a stop-motion film about a girl evading an ominous entity called the Ash Man ushers in a new layer of narrative complexity. The film expertly navigates the dichotomy of creation and destruction, utilizing the eerie stop-motion figures to reflect Ella’s unraveling psyche.

The psychological depth of Stopmotion is further accentuated by Franciosi’s performance. Her portrayal of Ella’s descent into obsession and madness is nuanced and deeply affecting, ensuring that the audience is rooted in her perspective, even as the narrative spirals into darkness. The supporting cast, including Gonet and Tom York as Tom, Ella’s boyfriend, offer solid performances that round out the film’s emotionally charged atmosphere.

One of the most commendable aspects of Stopmotion is its willingness to delve into the darker, more unsettling facets of creativity. The film doesn’t shy away from the ugliness that can accompany the act of making art — the sacrifices, the obsession, and the toll it takes on the creator’s mental health. The inclusion of disturbing imagery, particularly in the film’s climax, may be off-putting to some viewers, but it is undeniable that these elements serve a purpose in highlighting the destructive power of unchecked creativity.

However, while Stopmotion is an impressive debut, it is not without its flaws. At times, the film’s pacing feels uneven, particularly in the middle segment, where the narrative meanders slightly before finding its footing again. Additionally, some of the plot developments feel predictable, detracting from the overall impact of the story’s climax. Despite these minor shortcomings, the film remains a compelling watch, thanks to its innovative blend of animation and live-action, as well as its haunting exploration of its central themes.

Moreover, the film’s conclusion, though jarring, is a bold choice that will undoubtedly leave audiences pondering the nature of the story they have just witnessed. It raises questions about the cost of artistic endeavor and the blurred lines between fiction and reality, inviting viewers to contemplate the power of stories and the lengths to which creators will go to bring them to life.

Stopmotion is a formidable debut from Robert Morgan, offering a unique and thought-provoking horror experience. With its innovative use of animation, strong performances, and a compelling narrative, it cements Morgan’s place as a filmmaker capable of weaving complex psychological themes with genre elements. Despite some minor hiccups, Stopmotion is a must-watch for fans of psychological horror and animated cinema alike, serving as a reminder of the medium’s potential to explore the deepest corners of the human psyche.