China is Eclipsing the US (and Japan) to Become the World's Animation Powerhouse
A Review of Deep Sea (2023) by Tian Xiaopeng
In the new Chinese animated film Deep Sea, a girl on a cruise with her dad, step-mom, and step-siblings gets thrown overboard during a storm. As she clings to a life preserver, awaiting rescue and barely alive, her imagination transports her to an underwater world of anthropomorphic walruses and squid-like demons, plus many other bizarre creatures, who help her process her mother's absence. It's Spirited Away (directed by Japanese animation titan Hayao Miyazaki) meets Life of Pi, and it's one of the best animated films in years. The cutting edge animation technology cost tens of millions of dollars, and I'm glad someone threw that kind of money toward something so risky, unattached to any existing intellectual property or popular brand.
I'm convinced director Tian Xiaopeng will go down as one of the animation greats, alongside the likes of Walt Disney, Tex Avery, and of course Miyazaki. Starting from the launchpad of Pixar's innovations, Deep Sea skyrockets into galaxies Pixar's team couldn't even dream of. Through dazzling sequences of fluid color that wash across the screen, the film translates traditional Chinese ink drawing into breathtaking CGI animation. The end product is a style that is both innovative and distinctly Chinese.
I can understand arguments asserting that Tian’s maximalist style can get overwhelming. I could sympathize with anyone who claims Deep Sea is a bit too long. Tian really does let his entire arsenal loose on this film, like he wants to show off anything and everything he's capable of. But I prefer this bombastic style to muted or irony-poisoned restraint. The latter approach has trapped a lot of younger artists in the US who could be great if they would only drop their pretense to nihilism. As mentioned in the title of this essay, China is surpassing us on the artistic front, and we should humble ourselves and learn from their advances.
And on that note, what a shame it is that this gorgeous film is getting near zero exposure in the US. In China it played on IMAX; here I had to watch it on my laptop via some obscure streaming site. Its foreignness, specifically its Asianness, is no excuse for the lack of any kind of marketing push stateside. See, for example, the massive success of Japanese anime here and in other parts of the West. I’m currently reading up on the history of the importation of anime to the United States, and I’ll be writing more of my reflections on that process and how it might potentially be applied to importing Chinese animation and other recent popular culture. Stay tuned for more such reflections to come, and as always share your thoughts in the comments below.
Here's the Deep Sea trailer:
youtu.be/AtFKGPOWBuM