It’s almost spring. Ernest, roused from his long hibernation by a lively Celestine, grumbles, hungry, in front of the empty cupboards. The latter, in a hurry to restore his good mood, convinces him to play a few musical notes. Too excited, the mouse drops Ernest’s violin, which breaks instantly. To repair it, the duo must go to the country of Ernest, Charabie, to the great displeasure of the main interested party. Only Octavius, the famous luthier, is able to bring the rare “Stradivariours” back to life. »
But bear country has changed a lot. Trafficking in instruments, persecuted birds, search warrants for musical resistance… All notes, with the exception of C, have been banned since the promulgation of the Ernestof law by Judge Naboukov — Ernest’s father —, furious at his son who defied the rules and refused, as tradition dictates, to follow in his father’s footsteps and don the toga. Armed with their temerity and their ingenuity, the grumpy bear and the adorable mouse will do everything in their power to ensure that joy, justice and freedom regain their rights in Charabie.
Ten years after a first foray into the cinema, the endearing duo imagined by Gabrielle Vincent is back in service under the direction of French filmmakers Julien Chheng and Jean-Christophe Roger.
Taking up the light and graceful line of the Belgian author and illustrator, the film’s artisans offer a poetic universe, entirely sketched by hand, enhanced by pastel tones, expressive characters and impressive settings inspired by Byzantine classicism and Georgian art nouveau architecture.
The composer Vincent Courtois fits perfectly into this aesthetic, imagining a frenzied and fun soundtrack, inspired by the music of the Balkans, which perfectly marries the joyful chaos of the resistance and the richness of the emotions conveyed by the film.
The meticulous work on the theme of the music continues even in the staging, full of winks; like this urban landscape, which plays with extremes, reliefs and sound particularities, or these aerial trains which follow a route similar to a score.
With this original story imagined especially for the cinema, the screenwriters brilliantly anchor themselves in the artistic and ethical approach of Gabrielle Vincent, respectful of the intelligence, curiosity and insight of children. The story, funny, fascinating and full of twists and turns, is therefore part of a desire for depth.
In addition to tackling with delicacy and authenticity issues that closely affect viewers, such as friendship, the quest for identity, hierarchy and family disputes, the film raises important questions about censorship, dictatorship and the rights of the person — premises for promising discussions. A great success.