Many children’s movies are released on our French screens in this late year. Different high-quality visual styles and techniques fight for the favor of our pupils.

Monsters and marvels are playing in the highly eagerly-anticipated Spike Jonze’s Where the Wild Things Are. Created by the famous Jim Henson Company (The Muppets, The Dark Crystal and Labyrinth among others) the creatures - about 8 months of work - are the result of an elegant mix between "traditional giant puppets "and digital animation. On the set, actors in costumes and animatronics make the show supported by visual effects as discreet as efficient for the movements and facial expressions. Based on the eponymous book by Maurice Sendak, the film develops a strong and singular universe in a captivating and strange atmosphere around its protagonists. Note that in 1983, the Disney Studios with John Lasseter (Pixar) had already attempted to adapt the best-selling children's literature without producing more than a 30 seconds feature. It represents an early attempt of motion carried with a steady cam in animation. As for Spike Jonze, he takes a poetic-fresh look at the world of childhood, without being infantile.

From the adventures of Max to those of Arthur, there is only one step. Both boys are immersed in parallel worlds between introspection and imagination. Arthur and the Vengeance of Maltazard is the 2nd part of a trilogy created by Luc Besson (final opus scheduled for fall 2010). Combining digital effects and live action, the ambitious French production has nothing to envy to American blockbusters. All the 3D effects were elaborated by Buf with lots of software and home tools. A technical successful episode underpinned by an environmental and topical message. All shots were worked consistently said Stéphane Nazé, visual effects supervisor: from the close-up featuring the hero to the wide-angle shot mixing characters, background, perspectives and lights (avowed inspirations: Norman Rockwell and Edward Hopper). If you want to continue the experience, visit the Futuroscope where Arthur’s 4D Adventure is the new attraction created by Besson himself from December 19.

And Astro Boy deals with state-of-the-art technology too. Umpteenth adaptation of a master of Japanese animation Osamu Tezuka’s manga, Astro has become over the years an icon of Japan's animation whose design is recognizable like Mickey Mouse. Second feature film directed by David Bowers (Flushed Away in 2006), Astro Boy has been "assembled" at Imagi Animation Studios between Hong Kong and Los Angeles (Ninja Turtles in 2007) in close collaboration with Macoto Tezuka (his son) and Tezuka Productions. The result between teams of East and West has no revolutionary screenplay, but this version of sunrise Pinocchio is definitely a brand new show with a pleasant design.

For toddlers, we should mention the paper cut-out articulated medium-Chinese film La Boutique des Pandas (3 films in 1). This technique which has been developed in the 50s comes from popular art. The paper cut-out articulated division is one of the Shanghai Studio Art departments just like cartoon or puppet.

L’Ecureuil qui voyait tout en vert includes 3 short animated films from Iran, a rare country on our screens. Unfortunately, it’s more a curiosity due to childlike techniques.