This review was requested by patron Alex Hu. If you’d like me to review a movie, please consider supporting my Patreon.
I had one hell of an intro lined up for this one. I was going to open with a description of the Book of Kells, and detail how the blue dye illustrating this mediaeval masterpiece of Irish art had to be imported all the way from ancient Afghanistan. I would then tie that into a line from The Breadwinner where the character Nurullah describes how the ancient peoples of Afghanistan traded all over the world. Then I was going to connect that to how director Nora Twomey’s previous film The Secret of Kells led directly into The Breadwinner, showing how Ireland and Afghanistan have, improbably, been transmitting ideas and beauty between each other for millennia. And how even between two incredibly distant nations there can be bonds of shared history and culture. How we are all, truly, one people.
And then I go to Wikipedia and discover that the theory of the Book of Kells being created with ink from Afghanistan has been debunked so never fucking mind then.
Anyway, this is the third film of current animated hotness Cartoon Saloon. Like their previous two movies, this is an international co-production, this time between Ireland, Canada and Luxembourg.
Directed by Nora Twomey and produced by Angelina Jolie, The Breadwinner is based on the novel by the same name by Deborah Ellis. Upon the movie’s release in 2017 it was heralded as an instant classic and became the only non-American film to be nominated for Best Animated Feature in 2017.
But is it really that good? Does it really deserve to be spoken of in the same breath as classics like Boss Baby and Ferdinand (seriously, fuck the Oscars)? Let’s take a look at The Breadwinner or, as I call it, Mulan but Everything is Terrible.