Natalie Portman and Animator Ugo Bienvenue Envision a Brighter Future with Award-Winning Film 'Arco:' 'This Film Had to Be Made'

Few films close with a line that feels like a mission statement, perfectly capturing both the narrative and the creators vision. Arco achieves this with its final words: I wish that things would change.

Art and activism originate from the same impulse, explains producer Natalie Portman, referencing Ava DuVernay. Both imagine a world beyond the one we inhabit. This idea permeates the film, crafting beauty while envisioning a brighter future.

Produced by MountainA, the company run by Portman and Sophie Mas, in collaboration with Remembers, led by director Ugo Bienvenue and his creative partner Felix de Givry, Arco has enjoyed a remarkable journey. It debuted at Cannes, was acquired by Neon, won the top award at Annecy, earned three European Film Award nominations, and continues to screen at festivals, including Marrakech, supported by a strong awards campaign.

Much of science fiction tends to imagine a future that mirrors the present, says Bienvenue. Perhaps we are among the first generations eager to chart a different path. We are exploring new directions because old ones feel bleak.

Bienvenue, an acclaimed animator and comic book artist who had previously designed the Annecy Festival poster, started his feature debut with a single idea: envisioning a utopia informed by memories of the past. This seed grew into a sci-fi tale of a boy from 2932 who travels through rainbows in time, forming a bond with a lonely girl in 2075.

The concept was extraordinary, says Portman. Ugos imagination created something timeless, as if the future were already a memory. Sophie and I instantly knew this film had to exist.

The project began during the 2020 lockdown as a creative refuge. Bienvenue imagined a child from a happier future thrown into challenging times and began sketching. He quickly brought in co-writer and producing partner Felix de Givry, known for his work on Mia Hansen-Lves Eden and Olivier Assayas Something in the Air.

Ugo drew while I wrote, recalls de Givry. We first built the film in our own studio, almost secretly, before sharing it with the world.

The team bypassed traditional scripts and pitch decks, instead producing a 50-minute animatic infused with influences from Spielberg, Zemeckis, Miyazaki, and classic storybook tales like Peter Pan and The Little Prince. The result felt both familiar and fresh to their peers.

The animatic radiated joy, humor, adventure, and stunning visuals, Portman says. The story of two children on an adventure blends classic '80s American structure with Ugos unique French sensibility. The hand-drawn animation provides a human touch we crave today.

Following Cannes, Portman and Mas discovered Arco at a pivotal moment for their company. They created a French production branch to combine the speed and ambition of U.S. filmmaking with the rich support system of France, giving Bienvenue exceptional creative freedom.

French animation often focuses on subject matter over adventure or fun, says Bienvenue. We wanted this film to appeal to everyone. Budgets are smaller in France, but our goal was to push boundaries and aim high.

De Givry notes that merging French and American production approaches strengthened the film. The French auteur animation system, combined with international sales and distribution support, was key to launching this project and preparing it for Cannes 2025. This film needed to exist now.

The story contrasts a distant 2932, where humanity has broken ecological cycles, with 2075, reflecting climate instability. As production progressed, reality began to echo their darker predictions, with audiences affected by extreme wildfires reflecting the films themes.

Portman cherished viewing the film with her own children. My kids, eight and 14, loved it. It sparked meaningful conversations about technology, parenting, and our responsibilities toward the planet, leading to inspiring discussions.

Author: Olivia Parker