“I’m Going to Disneyland” by Antoine Blandin

Twenty-year-old animation student Antoine Blandin chose an ambitious subject matter for his short I’m Going to Disneyland that pushes beyond typical student film territory. Domestic violence and child abuse are difficult subjects to pull off in animation, and Antoine does a lot with the topic in just over two minutes. I might even argue that it’s more effective than the other domestic violence cartoon making the festival circuits this year, Anita Killi’s Angry Man, simply because Blandin’s grim and austere visuals don’t distract from the story and feel more authentic to the point he’s making. The film was made at the Angoulême, France-based animation school EMCA. There’s a smart write-up about the short at Kuriositas.com.


  • Daniel J. Drazen

    Agreed. The simplicity of an animation style such as Blandin’s makes it easier to handle subjects that are just too intense for live action. Unfortunately, treatments of such subjects on TV shows such as “Family Guy” end up debasing the currency.

  • http://dmgermain.blogspot.com David Germain

    I wonder if this was based on a true story. I’ve heard some pretty sick stories about people who should NOT be parents.

    Whether it is or not, it’s well done all the same. I like how the director keeps things somewhat light and upbeat in order to make the subject matter have that much more impact.

  • http://www.michaelspornanimation.com/splog/ Michael Sporn

    The work of a young person. I’d like to see the same film done 15 years from now. The animation is hardly more than serviceable. “Illustrated readio” to paraphrase Chuck Jones’ old comment.

  • http://www.myspace.com/thetinyorchestra John Halfpenny

    I loved Sinna Mann. The more jewel-like visuals were totally appropriate to the optimistic tone that prevails in the end.

  • http://www.opportunitylol.com Robert Haynes

    My heart hurts now

  • http://www.inkandpixelclub.com Sara

    I’m kind of torn here. This is a very serious subject and a film that treats it seriously should leave the viewer feeling sad. Mission accomplished there. But there’s a fine line between what will make people have an emotional reaction and what will cause them tune out because it’s too much and it feels either overwhelming or no longer believable. I think this film is perilously close to that line. I’m certainly not asking for a happy ending and I know there are parents who do horrible, unspeakable things to their children, much as we all wish it weren’t the case. But this starts to feel like everything horrible that could possibly happen to a child presented in one narrative in which the child is ceaselessly positive in a way that feels designed to make the audience more depressed. I can absolutely believe that all of these things have happened to kids and that there are kids who don’t realize how horrible their lives are. But all of it combined into one narrative kind of stretched my credulity. Your reaction may not be the same and I’ll certainly feel bad if it turns out this was based on the story of one kid and not a composite of several real events. But that’s the reaction I had.

  • dr. truth

    this was very well done!! i like it!
    oddly deep.

  • Cyber Fox

    Now i know how Neko Zombie feels :(

  • http://www.textbookhistory.com Statman

    Optimistic? Isn’t the car on railroad tracks at the end, with the gate coming down? Isn’t “Disneyland” in this case a euphemism for death? Or have I got that wrong?

    • anonymous

      If you’re referring to John Halfpenny’s comment, he’s referring to “Angry Man”, which Amid compared this film to.

  • http://pixeltoon.com Gina Kamentsky

    I’ll be honest, I felt this was so literal. I believe there should be room in art for the viewer to arrive at her own ideas… a bit of dialogue with the work. Some ambiguity is good. I enjoyed Sinna Mann because the story about the king allowed me to engage with the subject. This felt a bit like being hit over the head with a hammer, too direct!

  • Al

    The sad thing is this film could be made in any decade and still be contemporary.

  • Levi Ames

    Uh wow…