A big thank you to the public and the organizing teams who warmly welcomed Marion for this screening which took place in the necessary sanitary conditions. This was a great opportunity for the audience to also ask Marion questions about this great adventure that this film represented for our teams. This is why the Buc town hall, which is the organizer of this event, invited Marion Bayard, Head of Production at Mikros Animation Paris, to present this animation feature made by the studio, which also acted as executive producer and line producer on this project.
Set in 50 BC, this film is an all-new 1 story and features many new characters.
Discover more posts about asterix and the secret of the. Asterix: The Secret of the Magic Potion is the tenth animated film featuring Asterix, the plucky character who defends the last independent village in Gaul from the Roman Empire with the help of his best friend Obelix and a magic potion made by druid Getafix. As a special wink to the festival, Asterix – The Secret of the Magic Potion is the only film that isn’t based on a comic book! Based on a work by René Goscinny and Albert Uderzo, the film was directed and written by Alexandre Astier and Louis Clichy. See a recent post on Tumblr from cathleen-and-co about asterix and the secret of the magic potion. The equivalent of the last comic on the shelf at the campsite supermarket: it may provide some distraction, but don’t expect much.Asterix – The Secret of the Magic Potion has opened Buc’s 27th Comics Festival in France, which took place on October 10th & 11th, despite the COVID-19 crisis.Įvery year, this festival welcomes in Paris region a great number of French and international authors, for both adult and youth public.Īsterix’s adventures naturally fit in there. We finally get there – with a last-reel dust-up set to Dead or Alive’s You Spin Me Round, a cue to quicken any pulse – but it’s all too clearly the kind of family film that has to creep out towards the end of the holidays, once Pixar has loosened its grip on the marketplace and parents are casting around for anything to get the kids to sit still. Under-10s who don’t have an MBA will want far less digimated R&D and way more Roman-thumping. Getafix’s succession pushes Asterix and Obelix to the sidelines the quest to improve the formula of the wise elder’s signature elixir is a near-complete non-event in terms of action or spectacle.
If it doesn’t sound like an Asterix movie, it at least looks like one, with conglomerations of pixels that bear closer resemblance to the original illustrations than did Depardieu in a fat suit, and a pleasing contrast between the rough-edged pencil backstories and the slickly processed main business that feels like the animators tipping their collective chapeaux to their inspiration.īusiness it is, though, in the main: what’s most striking is how grounded the plot is in boardroom thinking. The deft cultural and linguistic gags Goscinny and Uderzo once traded in are mostly lost in the homogenisation.
The brand fell into pantomimic disrepair with those live-action super-productions that cast Gérard Depardieu as Obelix shortly before the actor packed up for Russia it rallied, briefly, with 2016’s The Mansions of the Gods, a brisk, spirited digimation lent additional pep by the ragbag British comedians (Matt Berry, Dick and Dom) drafted in for the UK theatrical version.Īlas, the English-language dub of this follow-up has been pitched with mercenary precision at the US market: hand-drawn inserts strive to explain who the key players are, and our indomitable Gauls now sound like actors manning the background of a Hallmark Channel melodrama. A t risk of sounding like Grumpycritix, the movies have treated Asterix almost as poorly as they have Tintin.
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