The Irish Times by Tara Brady
Away is as unique as it is lovely.
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After his plane mysteriously goes down, a boy parachutes onto a strange island. He finds a motorbike and an injured little bird and sets off across the island, trying to escape a dark spirit that drains the life from everything it touches and find his way home.
The Irish Times by Tara Brady
Away is as unique as it is lovely.
Time Out by Dave Calhoun
Away has the mild rush of a coming-of-age dream, the sort that lodges in your memory as symbolic and significant as you pass from one stage of life to the next.
The Guardian by Leslie Felperin
Not a word is spoken throughout, which harkens back to an older era of cinematic storytelling. At the same time, the extreme frame-to-frame fluidity of the computer-assisted animation style, composed entirely of fields of subtly modulated colour, no outlines and minimal modelling, looks completely 21st century.
CineVue by Christopher Machell
Away combines Zilbalodis’ signature minimalist style with the structure of a classic survival story.
Variety by Peter Debruge
For those with the opportunity to see Away in a theater, the experience will either mesmerize or annoy, as the project feels like a promising first pass — a rough-rendered showcase of Zilbalodis’ myriad gifts, which are better suited to world-building and scenic design than character animation.
The Hollywood Reporter by Jordan Mintzer
Somewhere between Hayao Miyazaki and Terrence Malick lies Away, a gorgeously made minimalist cartoon that’s long on beauty and breathtaking scenery, if somewhat short on traditional narrative.
Los Angeles Times by Charles Solomon
Zilbalodis’ storytelling is intriguing but oblique.
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