A young girl, disconnected from her father in another country, carries on her connection to her family via his cartoons and stories that he crafts for her based on a randomized title she chooses.
Experimental films are always going to be hit or miss. From the subject matter to the duration and even the visuals themselves, it’s a chance one has to be willing to take in an effort to bring something truly artistic and unique into the world. And that’s exactly what Maya Donne-Moi un Titre does. Utilizing an incredibly standalone art style, with a combination of paper craft animation and live action, and even scenes depicting the scenes being animated by the hands of the father, it’s a really touching and inspired concept, albeit one that can occasionally fall a bit flat by relying too heavily on its uniqueness. While the film could’ve benefited a little from a better connection with the characters beyond the animated parts, which would’ve also added enough minutes to the runtime to make it feel like a full fledged film, Maya Donne-Moi un Titre still stands out as an incredible feat of blended animation and incredible visuals, wrapped up nicely with a story that will pull on your heartstrings.
Which is business as usual for Michel Gondry. His work has a certain depth and heart to it that’s rarely found in film, and yet everything he touches will take you through the entire emotional spectrum. Maya Donne-Moi un Titre is no different, only this time around, there’s something about it that just doesn’t quite connect. While the story is wholesome and full of childlike wonder, and there’s definitely a ton of sincerity in Gondry’s deeply personal connection to the material as both director and writer, it often feels oddly unfinished at times, and almost voyeuristic in how far into the private life of these characters we’re forced to go. Specifically, a scene featuring the titular young girl nude, even though it’s animated, feels unnecessary, and while the story is relatable and wondrous, it can also feel too intimate for its own good.
A part of the blame falls, rather ungraciously, upon Pierre Niney’s narration, though it’s not entirely his fault. Some of his line delivery can fall really flat and border on emotionally blunted, but I can’t truly tell if it’s Niney’s fault or just the fact that there’s rarely a break from hearing his voice. Bordering on audiobook levels of narration, Maya Donne-Moi un Titre would’ve benefited from less telling and more showing. Maya is played by Gondry’s real life daughter, which adds a certain layer of beautiful connectivity, but it just can’t transcend the constant narration from time to time. Still, the performances are good enough to keep you enthralled, I only wish there was more cast to be had at all.
The animation stylization is really where the film excels, though, with the gorgeous art style being a vibrantly unique depiction of storytelling that I’ve not seen anything like. The sound design is well done, too, and the music by Jean Michel Bernard sets the mood perfectly. I was moved to tears more than once, not just by the visuals, but by the obvious love that went into every frame and idea.
While Maya Donne-Moi un Titre has its own set of flaws, it’s hard to deny just how amazing of a labor of love this project is for Gondry. It’s a beautiful window into an even more beautiful mind, and I feel honored to have been allowed such an intimate view of his life, and his love with his daughter.
Fantasia 2025 runs from July 16th to August 3rd 2025