THE STORY – Passionate about the idea of flying, Papaya is a tiny seed in a world governed by laws of nature with sprinkles of fantasy. She struggles to conform to expectations because her curiosity and an uncontrollable desire for freedom make her different from other seeds. When she realises that her destiny is to become a tree, she rebels. Fighting against her own nature, Papaya tries to stay in constant motion to avoid rooting. On her journey away from the mother tree, she learns a great deal about the creatures of the forest. But even Papaya must eventually take root – on the median strip of a highway, of all places. There she discovers the power within her, triggers a revolution and transforms her environment.
THE CAST – Aretha Garcia Rollo & Tulipa Ruiz
THE TEAM – Priscilla Kellen (Director/Writer)
THE RUNNING TIME – 74 Minutes
Priscilla Kellen’s feature debut “Papaya” finds itself falling into similar company in the pantheon of independently made animated films, such as Gints Zilbalodis’s “Flow” and last year’s “Dandelion’s Odyssey.” These smaller-scale independent films operate with one idea at their heart, treating decadent animation secondary in favor of, albeit simplistic, strong storytelling. It shines a light on a growing trend, especially in internationally animated films such as “Papaya,” that the artwork on display doesn’t have to come at the cost of narratives that are intellectually grating. So many animated films today, especially American ones, lack any real substance that would leave an impression on young children, despite a catchy tune or an animated character that a company would turn into a plush doll. So it’s nice to see that, despite how familiar it is, Kellen’s work makes for an animated feature that has enough to hypnotize younger children with a heartwarming tale of discovering oneself.
Almost immediately, the stage is set for our titular papaya seed as she flies out of the “womb” of the fruit of the mother tree that is the center of life around her. Yet, despite being nurtured and given the chance to grow her roots, Paypa is saddened by the life she’s supposed to live. Instead of burrowing deeper into the soil, she spends her time yearning for the euphoria she felt in the skies above with her mother. Any attempt at uprooting herself, she finds her mother, the giant papaya tree, putting her back into her place, while all the while her purpose is to spread her non-existent wings and fly. As soon as Papaya gets enough roots to move, comically designed in the place as workable appendages, she inadvertently sets off from her home, taking her on a whirlwind voyage that not only shows her the importance of her home that she’sfrom, but also that to find yourself or who you’re meant to be, you don’t have to carry that burden alone.
Kellen’s dedication to making “Papaya” an experience guided more by viewers’ emotions than by an intricate narrative leaves her storytelling far more dependent on its plotting. The film sees the little seed encounter various creatures of the ground and sky through set pieces such as sleepy capybaras, saddened vegetable seeds trapped on industrialized farms, or slimy critters of a junkyard. It’s a bit repetitive, as audiences see Papaya’s life threatened at every turn, only to narrowly escape in a predetermined way that is more cute than creative. It’s enjoyable to witness, at least in part because of the colorful art direction, which employs degrees of geometric abstraction to constitute the world in which Papaya navigates. All of which is set to a lively score by Talita Del Collado, which brings the needed energy to keep the audience’sattention.
Although it’s a film with no dialogue, Aretha Garcia Rollo’s voice work, while limited, is still enough to give the tiny seedling enough personality to invest viewers in her journey. As Papaya coos, grunts, and ahhs across various environments, she further dials up the cuteness meter, which is all but necessary for building any characterization beyond what the animators conceptualize. By the end of Papaya’s journey, it feels all but inevitable where she ends up. Kellen’squeer-coded parable of identity is sweet, and it’s sure to capture the attention of younger children, but adults, let alone children of a certain age, won’t find what transpires in front of them to be as engaging. It’s refreshing to see animation outside the parameters of three-dimensional artwork, which the medium predominantly operates in. Despite its simplicity, Kellen’s debut, for the most part, works and is a breezy enough outing to give parents a few moments to themselves.
