J’ai perdu mon corps

At the risk of being too whimsical even by the standards of what one may rightly expect of an animated feature based on a novel by the co-writer of Amélie (2001), the central conceit in Jérémy Clapin’s J’ai perdu mon corps could have easily gone sideways if not for the success of one key performance. Indeed, the expressiveness, nuance, and poignancy achieved by that performer, despite some obvious limitations, may be the biggest reason why Clapin’s debut feature enjoyed such a rapturous reception at Cannes, where its well-deserved triumphs included the Nespresso Grand Prize at the Semaine de la Critique and something even more coveted: a worldwide Netflix sale.

The character is of course