Connoisseurs of digital animation, graphic novels, and the history of dystopian art will have plenty to discuss about Christian Volckman's visually striking, technically impressive black-and-white animated feature Renaissance, set in 2054 Paris, when advances in the field of age reversal are co-opted by corporate greed. Behold the influence of Metropolis, Blade Runner, Sin City and on and on. But no one will be talking about the movie's banal plot, the trite dialogue, or any of the indistinguishable characters who offer a bleak futuristic vision of cinema that's all style, no soul.


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