J'ai perdu mon corps

2019 [FRENCH]

Action / Animation / Drama / Fantasy / Romance

6
Rotten Tomatoes Critics - Certified Fresh 96%
Rotten Tomatoes Audience - Upright 83%
IMDb Rating 7.6 10 28199

Synopsis


Uploaded By: FREEMAN
May 18, 2021 at 08:52 PM

Cast

Alia Shawkat as Gabrielle
Dev Patel as Naoufel
George Wendt as Gigi
Barbara Goodson as Mrs. Lussac
720p.BLU 1080p.BLU
741.18 MB
1280*534
fre 2.0
NR
24 fps
1 hr 20 min
P/S 1 / 12
1.49 GB
1920*800
fre 5.1
NR
24 fps
1 hr 20 min
P/S 3 / 22

Movie Reviews

Reviewed by the_donnie 10 / 10

"I lost my body" is all about losses in life that many of us go through, and hope

A simple animation and yet so poetic and melancholic. It's slow and cozy to watch, it unexpectedly got my feelings carried away through the story of this young boy finding his reasons to continue living. "I lost my body" is all about losses in life that many of us go through, and the uniquevocual reason we continue to live is hope to find that part of us that's missing, such as love. A very few movies out there have the capacity to touch hearts these days, this is one of them.

Reviewed by stoneps 8 / 10

A great sad open-ended story

A very sad story..

The world is not very kind to this young man. Parents died in a car crash. Adopted by a horrible family. Worked in a pizza restaurant and literally failing as a delivery guy.. Those childhood dreams are dreams after all. He didn't turn out to be an astronaut or musician, much less both.

And all of a sudden this cold world gave him a bit of warmth, a girl waiting for his delivery was concerned (for the first time) about whether he was okay after a minor car crash which caused the delay. A special moment.

It felt like a new meaning to his life. He started to follow this girl who works at the library and then became an apprentice for her uncle. He was finally able to get himself a place he can call home. And he even used the knowledge he learned from apprenticeship to please his girl. But when he open his heart to her she panicked and left. And he cut his hand off.

So this is where the animation begins with this side storyline where the loose hand tries to find his owner. Like his owner, the hand suffered from the rejections of this cold world as well. Took it great effort to finally got back to him.. but the owner, sadly, didn't want the reunion.

It had no choice but to see what happens to its owner as an independent object. It saw him listening the past memories over and over. And of course the moment when the car crash happened hurt him the most.. and he decided to replace it with something else.. a moment where he challenged himself and succeeded by taking a leap of faith! And when he did that, he left the recording machine behind, together with all his memories.

This story doesn't really have an ending. Did the boy and girl got back together? What happens to his loose hand? What happens to him after? There is really no answers given. I guess no matter what happens, it doesn't really matter.

This world is damn cold and unfair with prevalent rejections. I can really do nothing but hope that the boy finds his new (or old) meaning in his new life. I wish him well. If this world is cruel enough to kill him off with more hardships, I guess it doesn't deserve him in the first place, so be it, even I am tired of its sick jokes. If he's a happy chap now, perfection it is. Time to laugh it off, choking "life" by its neck and say "that all you can do?"

Now that I'm thinking about it. The beautiful sunset with which this animation ended with, probably is the reason why existing here, at this very moment, is such a beautiful thing. We get to experience all this fine views presented so delicately in front of our eyes, and all the other wonders stimulating our five senses every delightful moment. We can just take it. This nature that breeds all things, is so free of costs, arrangements, and efforts, and so regular, present, and stunning.

Perhaps it's not an open ending, perhaps we are supposed to realize we all are living the moment. The ending of it is just the start of something else.. It is an ongoing, nonstop process. This, is life.

Reviewed by Cineanalyst 9 / 10

Un-Hand-Drawn Animation

Arty French animation "I Lost My Body" contains some lovely imagery, and others have applauded it for its poetic dramatization, but I want to focus on its clever self-reflexive construction. The story involves a character whose hand is severed, whereupon the plot mostly assumes a dual focus of that character with his remaining body and of that of his disembodied limb, the latter of which assumes an independent agency and movement. There's also a girl, who plays an important role in one respect, but the hero's journey is predominantly concerned with the boy and the hand. The foundational obstacle for both the boy and hand is to overcome a past tragedy of separation: the death of the boy's parents and, in the other case, the loss of the hand's body. All of which is congruent with the picture's self-referential pulse of the disconnection of modern animated movies, such as this one, from traditional hand-drawn animated cinema.

This is more than a handy pun. Most of the primary elements of creating animation are included in the narrative. It has music--the boy's mother played the cello, and he and a blind man play the piano. The boy also collected audio on a cassette recorder (a device which also serves a critical function in the overcoming of the heroes' obstacles). Also notice the focus in the story on disembodied dialogue (e.g. the pizza delivery scene), which is what voice acting consists of, and on sound effects (e.g. the sound of wind from pressing one's hand to their ear). Besides the promise of a generic romantic coupling, the girl's role here also is in the writing department. She's a librarian and recommends to him a novel, "The World According to Garp," which itself is a piece of multi-layered, self-referential fiction about a writer and writing. Additionally, the boy borrows books about igloos from the library, which provides him with inspiration for his architectural designs. Thus, we have design (architectural and written), a soundtrack and a score. All that's left is to build the visuals of the animation. For that, he becomes a carpenter's apprentice--using, as his employer gives a helping hand, tools, accessories and instruments to transform the material, wood, which comes from the same stuff the paper animators used to draw films on did.

Note that only then does the hand's separate story begin, from an "accident" of carpentry. Film is a process of reanimation; in live action especially, but also, through inspiration or as reference, in animation as well, film captures something alive--something animated--then kills and makes it inanimate as still images before, finally, reanimating what was once captured as the projected (or Netflix streamed, as the case may be) motion picture that the spectator views. Likewise, the hand's individual adventure begins when he is captured by the electric saw; next, the hand lies dead before becoming reanimated as something entirely different from what it once was. In other words, the disembodied hand here is a metaphor for film and, specifically, animated film. It's the film-within-the-film, the hand's journey nested between the outer story of the boy's making of that story, along with the girl as being something of our on-screen surrogate spectator.

Unlike in live action, these drawn compositions don't necessitate a physical camera. This provides a free hand to the perspective of the picture, the theoretical camera's eye, which in turn becomes the spectator's shared vantage point, to be limited only by the filmmakers' imagination. The handling of that camera here is where "I Lost My Body" most excels visually in my estimation. In addition to alternating between color and black-and-white palettes and 2D and 3D computer animation, there's some shifting in perspectives. We and the camera are sometimes like a fly--oblivious, perhaps, to the characters when we're at a distance on a wall, but a nuisance when we swoop in or rest too close upon them. Other times, we share the point of view of this or that character--both what they see in the outside world and, through memories and fantasies, what they imagine with their mind's eye. At one point, we're just a disembodied eyeball resting on a floor. We may even be a reflection in a subway mirror as we witness a hand hiding under a ravioli can scurrying by. (By the way, does anyone else sense a dig at Pixar--specifically "Ratatouille" (2007) with this sequence involving rats, but with other scenes, too, such as floating through the wind (albeit it with an umbrella instead of balloons) between cars, and I can't think of any better reason for the astronaut business here. It would be fitting since, after all, Pixar largely killed traditional animation.)

Even better here is the attempt, which seems specifically more suited to animation because of how it's made, to expand the sensory stimuli by adding texture and a motif of the hand feeling the physical world around it. We experience movies, to paraphrase Charlie Chaplin, as movement, two planes and a suggestion of depth; it's something we've always seen and, later, also heard. Of course, we also feel emotionally and physically in response to the audio-visual experience. Thus, sure, "I Lost My Body" is touching, but, moreover, its tactile focus, hand-in-hand with its self-reflexive framework, almost gives the impression that it's a movie we can feel, to reach out and touch back.

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