Almost simultaneously released alongside Richard Linklater’s equally high concept animated film “A Scanner Darkly,” Volckman’s “Renaissance” is a little bit of George Orwell and Phillip K. Dick with the same neo-noir atmosphere of Frank Miller with a Dystopian twist, and it composes itself as an equally high concept animated science fiction installment that focuses on a society that’s not too much in the distant future from ours. The world is ruled by vanity and the search for eternal youth, and this is all spearheaded by an ominous corporation called Avalon that markets on society’s youth obsession and rules over all of society. Ads pop up from thin air, follow pedestrians, and always seem much more omnipresent than they should.

A young girl named Ilona is kidnapped, and now a grizzled cop named Karas must discover where she is, and in the process discovers that Avalon is much more powerful than even he realizes. Volckman draws some rather strong performances from the likes of Daniel Craig who is entertaining as the strong and distraught Karas, as well as Cathering McCormack and Ian Holm respectively, who provide strong supporting performances. What “Renaissance” accomplishes in terms of concept is also succeeds in examining the notion of immortality, and youth. It’s not impossible for a company that promises youth to rule the world, and it’s not impossible for a world frightened of death to seek every chance at immortality, regardless of the consequences, and “Renaissance” presents that vision in a stark shade of singular colors that helps the bleak future where youth is an obsession and rules all.

Without its skin, “Renaissance” is really just another neo-noir foreigner that sets up art house pretensions because of its animated landscapes and nuances and overstays its welcome by ten minutes. When you manage to strip away the presumptuous tone, and rather innovative animated techniques, what you really have is nothing but a rather over done and confusing neo-noir that would really just have been a limited release without much attention drawn to it in the first place. Though, I really have seen much worse in terms of story and crime dramas, sometimes all “Renaissance” has going for it is its animation, and it can make a case for that on numerous occasions. Part of the story is lost in a sea of familiar plot devices, cliché scenarios in back alleys and informants, and a villain that we’ve seen far too often. Not too much is gained in the area of story and plot, and that’s sad. For what the film achieves technically, it should have achieved in plot structure and dialogue.

Christian Volckman’s vision of 2054 Paris is yet another case of too much style, and too little coherence, but “Renaissance” is ultimately saved by the strong performances, taut atmosphere, and awe inspiring animation that almost rivals Linklater’s efforts.

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