Kirikou and the Men and Women

The third film by celebrated French animator Michel Ocelot about the exploits of the irrepressible young Kirikou, a feisty infant with a big heart, follows his adventures as he uses his wits to save his fellow villagers from a host of problems—including the threats of an evil sorceress. Told through the eyes of Kirikou’s grandfather, the Wise Man who lives in the Forbidden Mountain, the stories mix history, fable, and humor to teach important lessons about courage, self-belief, and tolerance. ==Cast==

• Romann Berrux: Kirikou • Awa Sene Sarr: Karaba • Jessica Tougloh: Madela (Kirikou's mother) / The Dancer • Pierre Poudewa: Kirikou's Grandfather • Sabine Pakora: Monkuga (the Strong Woman) / Neutral • Umbañ U Kset and Pascal Nzonzi: Aboulou (the Old Man) • Jean Landruphe Diby: Apo (Kirikou's uncle) / The Fetish on the Roof / The Talking Fetishes / The Dancer • Evelyne Pèlerin-Ngo Maa: The Griot • Rissa Wanaghil: Anigourran • Elika Bozorgi: The Big Girl • Gary Mihaileanu: The Big Boy • Antoinette Gomis: Izari (the Thin Woman) • Eythan Solomon: The Little One / Cube • Lola Giovanetti: Pompon == Reception ==

Critical reception In France Upon its release in France on , Kirikou and the Men and the Women received generally positive reviews from critics. While the graphics, animation, and soundtrack were unanimously praised, there were sometimes differing opinions about Michel Ocelot's ability to renew himself in this third film focused on Kirikou. The visual universe, animation, and music were still appreciated: Le Parisien described the film as an animation, graphics, and music still as enchanting, while Ouest-France said it was beautiful work, accomplished and delicate. The specialized cinema magazine Positif noted that The rhythm, the golden colors of Kirikou's universe suit this filmmaker (Michel Ocelot) wonderfully, in an expression of fullness that warms the heart. Ouest-France and Le Monde appreciated the use of 3D to create depth effects on several planes rather than volume, a technique already employed by the director in his previous film, Tales of the Night''. The five stories are mostly considered successful, though not without some differences of opinion. According to Noémie Luciani from Le Monde, Arnaud Schwartz finds the five stories still as delightful, with increasing intensity throughout the film and stressing the themes of welcoming the stranger and the transmission through storytelling. Some critics, however, were more skeptical: in Télérama, Cécile Mury thinks that even the most ardent Kirikou fan might find some rather trivial stories a bit long, while Romain Blondeau, in Les Inrockuptibles, finds that Michel Ocelot chain together five generally uninspired nursery rhymes with no narrative link or sense of rhythm. The ability of this third installment to renew the Kirikou universe has elicited mixed reviews. The daily newspaper Le Monde is convinced. and Ouest-France, Pamela Pianezza believes that If Ocelot gives in to the easy route by chaining stories rather than focusing on narrating a unique adventure (as in his superb Azur and Asmar), he nevertheless confirms his exceptional storytelling talent. Les Inrockuptibles, In Le Soir, Fabienne Bradfer argues that despite the 3D, the beauty of the graphics and the lovely humanistic message, this third film lacks creativity and succumbs to commercial easiness in Le Soir on October 24, 2012. ==Accolades==