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The Red Turtle
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The Red Turtle
French theatrical release poster
Directed byMichaël Dudok de Wit
Written by
Produced by
Edited byCéline Kélépikis
Music byLaurent Perez del Mar
Production
companies
Distributed by
  • Wild Bunch (France)
  • Toho (Japan)
Release dates
  • 18 May 2016 (2016-05-18) (Cannes)
  • 29 June 2016 (2016-06-29) (France)
  • 17 September 2016 (2016-09-17) (Japan)
Running time
80 minutes
Countries
  • Japan
  • France
Budget€10 million[4]
Box office$6.6 million[5]

The Red Turtle[a] is a 2016 animated fantasy drama film directed by Dutch animator Michaël Dudok de Wit who co-wrote the film with French screenwriter Pascale Ferran. The film is an international co-production between Japanese animation studio Studio Ghibli and several French companies, including Wild Bunch and Belvision.[b] The film, which has no dialogue, tells the story of a man who becomes shipwrecked on an uninhabited island where his attempts at escape are repeatedly thwarted by a red turtle.[6]

The film premiered in the Un Certain Regard section at the 69th Cannes Film Festival on 18 May 2016.[7][8] The film was nominated for Best Animated Feature at the 89th Academy Awards.

Plot

[edit]

A man set adrift by a storm wakes up on a beach. He discovers that he is on an uninhabited island with plenty of fresh water, fruit, and a dense bamboo forest. It is dominated by a smooth rock hill. After a few nights he begins to hallucinate, seeing a bridge to lead him offshore and later a string quartet playing on the beach. He builds a raft from bamboo and attempts to sail away, but his raft is destroyed by an unseen creature in the sea, forcing him back to the island. He tries again with a larger raft, but is again foiled by the creature. A third attempt ends similarly, but this time he sees the creature: a giant red hawksbill sea turtle.

That evening, the man sees the red turtle crawling up the beach. In anger, he hits it on the head with a bamboo stick, then flips it over onto its back, stranding it. While working on another raft, he feels remorse and returns to the turtle but it is too heavy for him to flip over. He fetches water for it, but when he returns, it is dead. He falls asleep next to it. In the morning, the man is surprised to find a red-haired woman lying unconscious inside the shell, which has split. He fetches water for her and builds a shelter to protect her from the sun. When rain hits, the woman wakes up and goes swimming. The woman casts the shell adrift on the sea and the man does the same to his raft. The two reconcile and fall in love.

The couple have a red-haired son. The curious boy finds a glass bottle and his father and mother tell him their story through pictographs. After accidentally falling into the sea, the boy learns he is a natural swimmer, and swims with some green sea turtles. He swims back to his mother, who hugs him and looks out at the sea with apprehension. The boy grows into a young man.

One day, a tsunami hits the island, destroying most of the bamboo forest and separating the family. After the tsunami recedes, the young man searches for his parents and finds his mother wounded with no sign of his father. He swims out to sea and is joined by three turtles. They find his father clinging to a large bamboo tree. Just as he slips under the water, they arrive and rescue him. The young man also finds his glass bottle, and the family clean up the wreckage and burn the dead bamboo.

A few years later, the young man has a dream about swimming away into the sea; the water becomes static, allowing him to swim to the top of a huge wave, from which he can see further over the horizon. Seeing this as his calling, he says goodbye to his parents in the morning and swims away with the three green turtles. The man and woman continue to live on the island and grow old together. One night, after gazing at the Moon, the man closes his eyes and dies. The woman grieves. She lies next to him, and lays her hand on his. As her hand transforms into a flipper and she transforms back into the red turtle, she crawls down the beach and swims away.

Production

[edit]

The film was co-produced by Wild Bunch and Studio Ghibli in association with Why Not Productions, along with funding and support from Prima Linea Productions, Arte France Cinéma, CN4 Productions, and Belvision in France, and Nippon Television Network, Dentsu, Hakudodo DY Media Partners, Walt Disney Japan, Mitsubishi Corporation, and Toho in Japan.

The film originated in 2008 when Wild Bunch co-founder Vincent Maraval visited the Japanese animation studio Studio Ghibli in Tokyo. Maraval met Ghibli co-founder Hayao Miyazaki who showed him Father and Daughter (2000), an animated short film written and directed by Dutch animator Michaël Dudok de Wit. Miyazaki told Maraval that if the studio was to ever produce a film with a foreign animator Dudok de Wit would be the one, and asked Miraval to locate him.[9] The head of acquisitions at Wild Bunch tracked Dudok de Wit in London, where Miraval subsequently met him to discuss the possibility of producing an animated feature film. Dudok de Wit was uninterested at first, but changed his mind when he learned Miyazaki was interested to collaborate with him. The screenplay was written by de Wit and Pascale Ferran.[10][9]

Dudok de Wit had originally intended for the animation to be done on paper, and then scan the drawings into a computer for digital coloring, but decided to use a graphics tablet instead after he did some tests on a Cintiq. The backgrounds were drawn with charcoal on paper and then scanned. Colors were then added in Photoshop, before light and shadow effects were composited into the scenes. Live action references for the scenes were shot, but nothing was rotoscoped. The live action footage was used only for references in what is called "analytic animation", where the actors' strongest poses are isolated by the animators. Both the raft and the turtle was created as CGI, and the turtle shell texture was created separately in Photoshop before being added. The animation team would retrace the linework of the CGI frame-by-frame, and manually draw the shadow effects, before all of it was laid over the CGI.[11]

Release

[edit]

The film had its world premiere on 18 May at the 2016 Cannes Film Festival, where it competed in the Un Certain Regard section.[12] On 13 June, it was screened as the opening film of the 2016 Annecy International Animated Film Festival.[13] The regular French release was 29 June 2016.[14]

It was released in Japan on 17 September 2016, by Toho.[15] The movie was released on DVD and Blu-Ray by Walt Disney Japan through the Ghibli Ga Ippai label on March 17, 2017, with the Blu-Ray version also containing Michaël Dudok de Wit's other short films.[16]

In May 2016, Sony Pictures Classics acquired the North and Latin American distribution rights for the film[17] and was released in the United States on 20 January 2017.

The Red Turtle was played in the London Film Festival on 5 October 2016 and eventually released in the United Kingdom by StudioCanal on 26 May 2017.[citation needed][18] Wild Side Vidéo (through Warner Home Video) released the film on DVD and Blu-ray in France in 2017.

Reception

[edit]

Critical response

[edit]

The Red Turtle received critical acclaim. On review aggregator website Rotten Tomatoes, the film has a 93% score based on 169 reviews, with an average of 8.1/10. The site's critical consensus reads, "The Red Turtle adds to Studio Ghibli's estimable legacy with a beautifully animated effort whose deceptively simple story boasts narrative layers as richly absorbing as its lovely visuals."[19] Metacritic reports an 86 out of 100 rating, based on 32 reviews, indicating "universal acclaim".[20]

In Japan it was released in theaters on 17 September and grossed a total of $328,750 during its first weekend.[21]

Accolades

[edit]
Award Date of ceremony Category Recipient(s) Result Ref(s)
Academy Awards 26 February 2017 Best Animated Feature Michaël Dudok de Wit and Toshio Suzuki Nominated [22]
[23]
Annie Awards 4 February 2017 Best Animated Feature — Independent The Red Turtle Won [24]
Outstanding Achievement, Animated Effects in an Animated Production Mouloud Oussid Nominated
Outstanding Achievement, Directing in an Animated Feature Production Michaël Dudok de Wit Nominated
Outstanding Achievement, Music in an Animated Feature Production Laurent Perez del Mar Nominated
Outstanding Achievement, Writing in an Animated Feature Production Michaël Dudok de Wit and Pascale Ferran Nominated
Cannes Film Festival 21 May 2016 Un Certain Regard Special Prize Michaël Dudok de Wit Won [2]
Prize Un Certain Regard Nominated
Camera d'Or Nominated
Chicago Film Critics Association 15 December 2016 Best Animated Film The Red Turtle Nominated [25]
Critics' Choice Awards 11 December 2016 Best Animated Feature Nominated [26]
Los Angeles Film Critics Association 4 December 2016 Best Animated Film Runner-up [27]
Magritte Award 4 February 2017 Best Foreign Film in Coproduction Won [28]
Best Sound Nils Fauth and Peter Soldan Nominated
Online Film Critics Society 3 January 2017 Best Animated Feature The Red Turtle Nominated [29]
San Francisco Film Critics Circle 11 December 2016 Best Animated Feature Won [30]
[31]
Satellite Awards 19 February 2017 Best Animated or Mixed Media Feature Nominated [32]
Toronto Film Critics Association 11 December 2016 Best Animated Film Runner-up [33]

See also

[edit]

Notes

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Red Turtle

View on Grokipedia
from Grokipedia
The Red Turtle is a 2016 animated fantasy drama directed by Dutch and co-written by Dudok de Wit and French screenwriter Pascale Ferran. The dialogue-free story follows an unnamed man shipwrecked on a remote tropical island, where a mysterious giant turtle repeatedly thwarts his attempts to escape by sea, ultimately shaping his experiences with isolation, love, family, and the passage of time. Produced as an international co-production involving Japan's , France's , and Germany's , the 80-minute employs hand-drawn 2D animation to evoke a minimalist, painterly aesthetic inspired by and human fragility. Upon its premiere at the in the section, The Red Turtle garnered widespread critical acclaim for its visual poetry, emotional depth, and innovative without words, earning a 93% approval rating from critics on based on 172 reviews. The film was nominated for the Academy Award for Best Animated Feature at the 89th Oscars, ultimately losing to Disney's , and won the Annie Award for Best Animated Feature – Independent. It also received a nomination at the for Best Animated Film, as well as Emile Awards for Best in a and Best in a . As Studio Ghibli's first project helmed by a non-ese director and animated primarily outside , The Red Turtle highlights the studio's global outreach while preserving its signature themes of environmental harmony and existential wonder.

Synopsis

Plot

The film opens with a man adrift at sea during a , who washes ashore on a remote, uninhabited tropical surrounded by a treacherous . He explores the lush, crab-infested landscape, constructs a shelter from and vines, and forages for food including , , and , establishing a routine of survival amid the island's vibrant . Determined to escape, the man repeatedly builds rafts from and attempts to navigate past the , but each effort is thwarted by a massive red that emerges from the depths to smash the vessels, stranding him back on the beach. In anger, the man strikes the turtle on the head with a stalk and flips it onto its back, beaching it. Remorseful, he tries to revive the weakening turtle by splashing it with but eventually falls asleep beside it. The next morning, he awakens to find the turtle's shell split open, from which a beautiful emerges, shedding its shell. The woman, silent like the man, becomes his companion, and they form a deep bond, sharing tender moments by the sea and in the island's pools. She soon gives birth to a son, and the family thrives together, with the boy growing from infancy through childhood, learning to play among the trees and waves under his parents' watchful eyes. When the boy is about five years old, a devastating floods the island, destroying their home and separating the family. The boy survives amid the wreckage and reunites with his parents, aided by sea turtles. Following this catastrophe, as the son matures into adolescence, he develops a profound affinity for the , diving fearlessly and befriending including turtles, eventually departing the island to explore the wider seas, waving farewell to his aging parents. Time passes in cycles marked by the seasons, as the man and woman grow elderly; the man weakens and passes away peacefully on the beach, while the woman, reverting to her turtle form, returns to the ocean. Years later, their son, now a grown man, returns to the familiar shore, gazing out at the sea as a new storm brews, suggesting the continuation of life's eternal rhythm. Entirely dialogue-free, The Red Turtle relies on visual storytelling to convey its narrative, using expressive animation of facial nuances, body language, and environmental details—like rippling water, swaying foliage, and the turtle's deliberate movements—to communicate the protagonist's isolation, determination, tenderness, and eventual acceptance without words. This approach heightens the emotional progression from struggle to harmony, underscoring themes of isolation and harmony with nature through the characters' arcs.

Themes

The Red Turtle explores profound themes of human-nature interdependence, depicting nature not as a mere backdrop but as an active, symbiotic force intertwined with the protagonist's existence, where animals and elements interact with human endeavors in moments of innocence and persistence. The film meditates on the cycles of across generations, tracing the protagonist's journey from isolation to family formation and eventual passing, mirroring broader patterns in human and animal experiences. Resilience against isolation emerges through the man's repeated attempts to build rafts and escape, ultimately leading to an acceptance of his island life and the formation of connections that affirm endurance. Central to these motifs is the symbolism of the , portrayed as a , otherworldly figure that thwarts the man's escape attempts, symbolizing fate, an inexorable guiding force, or perhaps the transformative power of love and connection. Interpretations often view the as embodying environmental , representing 's over ambition and the necessity of with one's surroundings rather than domination. Director has emphasized a deep reverence for in the story, positioning as integral yet humble participants within ecological systems, framing the narrative as an ecological message of respect and balance. Influenced by fable traditions, the film weaves surreal elements—like the turtle's transformation—into a philosophical of life's meaning, presented through a dialogue-free structure to foster universal accessibility and interpretive depth. Dudok de Wit's intent for non-verbal underscores the film's aim to transcend cultural barriers, allowing viewers worldwide to engage with its symbolic layers on isolation, renewal, and without linguistic constraints.

Production

Development

The development of The Red Turtle originated from an unexpected invitation extended to Dutch-British animator by in 2006. Admiring his Academy Award-winning Father and Daughter (2000), producer Toshio Suzuki contacted Dudok de Wit via letter, proposing collaboration on a feature-length animated project. This outreach marked the beginning of a cross-cultural partnership, with Dudok de Wit, then based in , envisioning a dialogue-free story inspired by themes of human resilience, nature, and existential isolation drawn from his personal affinity for contemplative storytelling and experiences with solitude during travels. The initial concept centered on a shipwrecked man's encounters on a remote island, evolving from Dudok de Wit's desire to explore universal human emotions through minimalistic, visual narrative rather than verbal exposition. The project advanced through a co-production agreement involving , French companies (led by Pascal Caucheteux and Grégoire Sorlat), and (headed by Vincent Maraval), formalized around 2011 after initial discussions. handled much of the European logistical and financial aspects, while contributed to international distribution rights and development funding; the collaboration was supported by grants from the French Centre national du cinéma et de l'image animée (CNC), , and Arte France, ensuring a budget suitable for hand-drawn animation without compromising artistic vision. Creative control remained firmly with Dudok de Wit, who benefited from 's non-interventionist approach—they provided advisory input on story structure but granted him autonomy over the narrative and style, reflecting Suzuki's trust in his vision as Ghibli's first non-Japanese director. Production proper commenced in 2013 at Productions in , , blending European and Japanese expertise. Dudok de Wit handled the screenplay development largely on his own over several years, crafting a wordless script that emphasized symbolic visuals and emotional arcs, later refined with input from French screenwriter Pascale Ferran to ensure narrative clarity without dialogue. Influences included Japanese animation traditions, particularly 's emphasis on environmental harmony and subtle character growth seen in films like , as well as silent cinema masters such as and for their reliance on and expressive gestures to convey profound themes. Consultations occurred with co-founder , who offered feedback on early storyboards and thematic depth during visits to , though was not directly involved; these sessions helped balance the film's meditative pace with engaging progression. This preparatory phase solidified The Red Turtle as a fusion of Dudok de Wit's introspective style and Ghibli's .

Animation

The Red Turtle was produced using hand-drawn 2D animation techniques, primarily executed digitally with Cintiq tablets for , while backgrounds were created using sketches on paper, scanned, and digitally colored in Photoshop to achieve a watercolor-like aesthetic with subtle grainy textures. This approach emphasized fluid, organic motion to convey the film's serene and introspective tone, blending minimalist line work with soft, diffused colors that evoke a dreamlike quality. The animation was handled by a team of approximately 100 collaborators, including about 12 key animators and 30-40 assistants, working across studios in (Prima Linea Productions in and ), (Marcinelle), and (with oversight from ). Design choices focused on simplicity and integration with the natural world: the island environment drew from real locations like the for realistic foliage, waves, and rock formations, rendered to highlight environmental harmony; the protagonist's expressions used minimal facial features—such as dot-like eyes—to rely on and posture for emotion; and fantastical elements, like the red turtle, incorporated for its form and shell patterns before retracing into 2D for seamless stylistic unity. Challenges arose in sustaining the film's silent, dialogue-free narrative through visual expressiveness alone, requiring extensive frame-by-frame revisions to capture subtle emotional nuances, such as fleeting glances or hesitant movements, without overt exaggeration. The team's perfectionism extended production timelines, with multiple passes on sequences to ensure environmental realism—particularly in dynamic elements like ocean currents and interactions—while preserving the uncluttered, poetic aesthetic that prioritizes mood over detail.

Music

The score for The Red Turtle was composed by Laurent Perez del Mar to complement the film's dialogue-free , employing a minimalist approach that relies on subtle to convey emotional depth and advance the story. Del Mar's music features gentle flutes, soaring strings, wood and bamboo percussion, and ambient elements, creating a tender and evocative sound palette that mirrors the film's themes of isolation and wonder. The sound design, handled by the Paris-based post-production house Piste Rouge, emphasized natural environmental audio to support the visual storytelling, including recordings and effects for waves crashing on the shore, persistent wind through bamboo forests, rain pattering on leaves, and wildlife sounds such as bird calls, crab scuttles, and turtle movements. These elements were crafted and mixed in Piste Rouge's auditoriums to ensure an immersive ambient presence for the characters and island ecosystem, with foley work capturing the subtle textures of the tropical setting. During post-production, the music and sound were integrated collaboratively, with Piste Rouge's team working closely alongside Del Mar to balance the score's cues with the naturalistic audio layer, ensuring seamless . Key tracks underscore pivotal moments, such as "The Red Turtle," which accompanies the protagonist's initial encounter with the mysterious creature using delicate string motifs to heighten tension and , and sequences like "The Baby" and "White Hair," which employ piano-led themes and ambient swells to trace the characters' life cycles from birth to aging.

Release

Premiere

The Red Turtle had its world premiere on 18 May 2016 at the 69th Cannes Film Festival in the Un Certain Regard section, where it received a standing ovation from audiences. The film competed in the section and won the Jury Prize, marking a significant achievement for director Michaël Dudok de Wit in his feature debut. Following , the film screened as the opening feature at the 2016 Annecy International Animated Film Festival on 13 June, highlighting its hand-drawn style to an audience of animation professionals. It also appeared at the in September 2016, where it garnered praise for its visual storytelling and emotional depth during the . The film's initial theatrical rollout began in on 29 June 2016, distributed by , allowing French audiences early access post-festival circuit. In , its co-producing country through and , it opened on 17 September 2016, capitalizing on the studio's domestic fanbase. handled the U.S. distribution, launching a limited release on 20 January 2017 in New York and before expanding to additional markets. Marketing efforts focused on the film's unique wordless narrative and its collaboration with , with trailers released starting in May 2016 to build anticipation among enthusiasts. The U.S. trailer, distributed by in September 2016, emphasized the story's milestones through visuals of the tropical island and marine life, underscoring the absence of dialogue as a strength. Promotional materials often highlighted Ghibli producer Toshio Suzuki's involvement, positioning The Red Turtle as a bridge between European and Japanese traditions.

Box office

The Red Turtle grossed approximately $6.7 million worldwide at the .) In its primary markets, the film earned $2.5 million in , where it opened strongly with $466,000 in its first week across 149 theaters, and about $1.1 million in , bolstered by its co-production ties to . The contributed $922,000 through a limited arthouse run, while other regions like the added $353,000./United-Kingdom) The film's commercial performance was shaped by its status as an independent arthouse animation with no dialogue, leading to a targeted release strategy in select festivals and specialty theaters rather than wide mainstream distribution. Festival exposure at generated buzz that aided initial openings, but competition from high-profile animated features like , which dominated global screens in 2016, limited its broader appeal and attendance. This resulted in modest per-theater averages, such as $7,270 during its U.S. debut in three locations. Produced on an estimated budget of €10 million (around $11 million USD), The Red Turtle recovered roughly 60% of its costs through theatrical earnings, a typical outcome for independent animated films prioritizing artistic vision over commercial scale.) Comparable titles like The Illusionist (2010), which grossed $5.6 million against a $17 million budget, highlight how such projects often rely on ancillary revenue for full viability, though The Red Turtle's Ghibli association provided a stronger international platform than many peers.

Home media

In the United States, The Red Turtle was released on DVD and Blu-ray by on May 2, 2017. These editions include special features such as an with director Michael Dudok de Wit, the The Birth of The Red Turtle detailing the film's production process, The Secrets of The Red Turtle exploring techniques, and session from the AFI Fest with the director. A digital release followed on the same date via platforms like and Amazon Video. In , distributed the DVD edition on July 19, 2017, followed by the Blu-ray on December 6, 2017. These releases feature similar bonus content to the U.S. versions, including featurettes on the film's creation and interviews with the creative team. Internationally, the film saw distribution through various labels, with a Japanese Blu-ray edition released on March 17, 2017, by under the Ghibli Ga Ippai imprint, featuring artwork inspired by Studio Ghibli's style. A limited edition Japanese set, the Michael Dudok de Wit Collection 2, includes the Blu-ray alongside a special booklet with production notes and illustrations. For streaming, The Red Turtle became available on starting in 2017, with ongoing accessibility in multiple regions as of 2025, though availability varies by country—such as on in select markets. No 4K UHD remaster has been released as of November 2025.

Reception

Critical response

The Red Turtle received widespread critical acclaim upon its release, earning a 93% approval rating on based on 172 reviews, with the site's consensus praising its "beautifully animated effort whose deceptively simple story boasts narrative layers as richly absorbing as its lovely visuals." On , the film holds a score of 86 out of 100 from 32 critics, indicating "universal acclaim" for its visual poetry and emotional depth in exploring human-nature interactions. Critics lauded the film's artistic merits, particularly its hand-drawn animation and thematic resonance. awarded it 3.5 out of 4 stars, commending its environmental themes and the way it fosters appreciation for nature through immersive details like lush island ecosystems and symbolic elements such as the turtle representing harmony between humanity and the natural world. Similarly, The Guardian gave it 5 out of 5 stars, highlighting the "sublime simplicity" and elegance of its animation, which unifies complex ideas into a universal, meditative fable without dialogue. Despite the praise, some reviews noted limitations in narrative accessibility and pacing. Variety described it as a "hypnotizing, entirely dialogue-free" work but criticized its slow tempo and lack of subjective point-of-view as potentially challenging, calling it the "longest 80-minute movie" and the least kid-friendly entry in Studio Ghibli's catalog due to demands on audience patience in a landscape favoring faster-paced animations. Reception has evolved positively since its 2016 premiere, with retrospective reviews up to 2025 reaffirming its influence on wordless . A 2020 Guardian article revisited the film as "crushingly beautiful and relevant," emphasizing its fluid, universal and detailed of life's delicate balance. By 2025, a review in Epigram underscored its enduring impact, portraying it as a simple yet transcendent work that conveys profound messages about humanity and nature through nonverbal means, inspiring ongoing appreciation for minimalist animated narratives.

Accolades

The Red Turtle earned widespread acclaim in the animation community, securing nominations and wins at several prestigious international awards ceremonies following its 2016 premiere. At the 89th Academy Awards on February 26, 2017, the film was nominated for Best Animated Feature, with directors Michaël Dudok de Wit and producer Toshio Suzuki representing the production; it lost to Zootopia. The nomination highlighted the film's artistic achievement as a dialogue-free animated feature co-produced by Studio Ghibli. The film also received recognition at European awards. It was nominated for the European Film Award for Best Animated Feature Film in 2016, underscoring its appeal within the continent's cinematic landscape where it was primarily produced. At the 42nd in 2017, The Red Turtle was nominated for Best Animated Film and Best Music Written for a Film, reflecting its strong reception in , though it did not win. In the animation-specific honors, The Red Turtle performed notably at the 44th in 2017. It won Best Animated Feature-Independent, acknowledging its independent production model and creative risks, while was nominated for Directing in an Animated Feature Production. These accolades emphasized the film's innovative hand-drawn and , contributing to its reputation as a landmark in contemporary . The film also won two Emile Awards in 2017 for Best (Michaël Dudok de Wit) and Best in a Feature Independent Production.

References

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  42. https://www.barnesandnoble.com/w/dvd-the-red-turtle-emmanuel-garijo/29931399
  43. https://www.blu-ray.com/movies/The-Red-Turtle-Blu-ray/175965/
  44. https://www.scifijapan.com/dvd-blu-ray-digital/studio-ghiblis-the-red-turtle-debuting-on-blu-ray-dvd-digital-may-2
  45. https://www.amazon.com.au/RED-TURTLE-Michael-Dudok-Wit/dp/B075JZBG47
  46. https://forum.blu-ray.com/showthread.php?t=115300
  47. https://www.blu-ray.com/movies/The-Red-Turtle-Blu-ray/172109/
  48. https://www.ebay.com/itm/182461433018
  49. https://www.netflix.com/title/80114172
  50. https://www.justwatch.com/us/movie/the-red-turtle
  51. https://bluray.highdefdigest.com/45706/theredturtle.html
  52. https://www.metacritic.com/movie/the-red-turtle/
  53. https://www.theguardian.com/culture/2020/jun/17/the-red-turtle-studio-ghiblis-first-non-japanese-film-is-crushingly-beautiful-and-relevant
  54. https://epigram.org.uk/the-red-turtle-a-simple-animation-with-a-transcendent-message-about-humanity/
  55. https://www.zippyframes.com/news/awards/my-life-as-a-zucchini-the-red-turtle-win-2017-emile-awards
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