Luca [Pixar - 2021]

Visuellement, c'est vraiment tout ce que j'aime: rond, coloré. Content de voir que Pixar semble explorer d'autres styles. On reconnaît la patte de Enrico Casarosa. Un petit passage peut même évoquer son court métrage La Luna. Il semble faire chez Pixar ce que Chris Sanders avait fait chez Disney avec Lilo et Stitch: un film un peu à part, plus personnel dans sa forme. Luca est tout mignon et le chat s'annonce prometteur.
Par contre la taille des parents aquatiques me turlupine sur l'affiche.

Et pour une ambiance totalement italienne   :

Je le regarderai avec plaisir. L'animation est magnifique, Pixar s'améliore d'années en années (et même de mois en mois !). Mais quel dommage de ne pas pouvoir découvrir ce film en salles Je ne comprends toujours pas la décision de Disney ici

L'Oncle Walt a écrit:

La bande-annonce en VF.

Il me semble reconnaitre Andrea Santamaria, la voix française de Miguel dans Coco, dans le rôle de Luca. On remarque que Disney France fait quand même attention à prendre quelques comédiens d'origines similaires aux personnages dans leurs doublages. Andrea Santamaria ayant des origines italiennes.


Par contre, Walt Disney Studios Canada vient de mettre en ligne sa bande-annonce en français, et le doublage est identique à celui d'Europe. Ce qui laisse à penser qu'il n'y aura pas de version québécoise.

Je ne pense pas que ce soit dans le cadre d’un respect des origines des personnages qu’ils aient fait appel à Andréa Santamaria. Si tel était le cas, le doublage du personnage méchant serait plus fidèle à son doublage d’origine.

Étant donné qu’ils ont collaboré ensemble pour le doublage de Miguel dans Coco et si de bons rapports ont été entretenus, l’expérience a été renouvelé. Un peu comme Lucie Dolène qui a doublé plusieurs personnages.

Flounder69 a écrit:

Par contre, Walt Disney Studios Canada vient de mettre en ligne sa bande-annonce en français, et le doublage est identique à celui d'Europe. Ce qui laisse à penser qu'il n'y aura pas de version québécoise.

Je viens de voir aussi... Déçu, le premier Pixar non doublé au Québec.

Chiara Mastroianni prêtera sa voix à Daniela, la maman de Luca.

Flounder69 a écrit:

Il me semble reconnaitre Andrea Santamaria, la voix française de Miguel dans Coco, dans le rôle de Luca. On remarque que Disney France fait quand même attention à prendre quelques comédiens d'origines similaires aux personnages dans leurs doublages. Andrea Santamaria ayant des origines italiennes.

J'y ai crû moi aussi mais dans ce cas, ça aurait voulu dire que le p'tit n'a pas beaucoup mué en 4 ans
DisneyFrance ont dévoilé le casting en fin d'après-midi :

Aloïs Le Labourier Tiêu : Luca.
Matt Mouredon : Alberto.
Juliette Davis : Giulia.
Chiara Mastroianni : Daniela, la mère de Luca.
Pierre Margot : Lorenzo, le père de Luca.
Serge Biavan : Massimo, le père de Giulia.
Oscar Ouieb : Ercole.

Southside a écrit:

Ce sera en VO pour moi... les voix françaises m’ont hérissé les poils :/.

Je trouve certains un peu off en effet, surtout pour Alberto. Le fait que les expressions faciales soient si exagérées n'aide pas.
Comme tout Disney et tout Pixar, je ferai deux visionnages pour tester les deux langues mais j'avoue que le seul effet positif qu'a l'arrivée de Luca sur Disney+, c'est que je pourrai le voir directement en anglais (comme Soul et Raya et le Dernier Dragon) alors qu'au cinéma, je n'aurai pas eu le choix.

L'Oncle Walt a écrit:

Southside a écrit:

Ce sera en VO pour moi... les voix françaises m’ont hérissé les poils :/.

Je trouve certains un peu off en effet, surtout pour Alberto. Le fait que les expressions faciales soient si exagérées n'aide pas.
Comme tout Disney et tout Pixar, je ferai deux visionnages pour tester les deux langues mais j'avoue que le seul effet positif qu'a l'arrivée de Luca sur Disney+, c'est que je pourrai le voir directement en anglais (comme Soul et Raya et le Dernier Dragon) alors qu'au cinéma, je n'aurai pas eu le choix.

C’est vrai qu’en général je trouve les doublages français de Pixar plutôt réussis. Les seuls à m’avoir débecté sont ceux de Rebelle et de Luca pour le moment .

Après la belle surprise que fut Raya et le dernier dragon, j’ai vraiment hâte de découvrir Cruella et Luca.

L'Oncle Walt a écrit:

J'y ai crû moi aussi mais dans ce cas, ça aurait voulu dire que le p'tit n'a pas beaucoup mué en 4 ans
DisneyFrance ont dévoilé le casting en fin d'après-midi :

Aloïs Le Labourier Tiêu : Luca.

Bon ben loupé
Aloïs Le Labourier Tiêu, Boun dans Raya et le Dernier Dragon donc. Effectivement entendu récemment chez Disney, mais je n'avais ni le bon acteur ni le bon film.

Tu t’es surtout loupé sur ce soit disant respect des origines des personnages .

De nouvelles (magnifiques) images de la production de Luca.


Compte-rendu sur la création du film. À lire absolument.

Citation :

Inspiration for LUCA

LUCA was inspired from director Enrico Casarosa’s childhood and summer holidays growing up in Genoa Italy. Another aspect that inspired the film were the numerous sea monster myths and legends, notorious with the Italian seaside towns where Enrico grew up. As a child, Enrico would often ask himself, “what if there was a colony of sea monsters that could disguise themselves as humans?”

The heart of LUCA is friendship and directly inspired from Alberto, Enrico’s best friend growing up. He “met Alberto when he was 12” and it was the type of friendship where “opposites attract” and they had “ something to help each other with.” Alberto helped push Enrico out of his comfort zone and Enrico believed that helped get him to where he is today in his career as a storyteller. Since they were also both outsiders growing up, Enrico wanted to tie the sea monster aspect to those characters in LUCA based on Enrico’s own experiences. Enrico really wanted to depict an honest and deep friendship in the film, the type of friendship that helps us find ourselves. He wanted audiences to see how much friendships can be transformative.

Andrea Warren, the producer on LUCA, also mentioned their goal was to transport audiences to Italy. They did that through extensive research; from visiting Italy, divulging in delicious Italian foods, to watching numerous films from the golden age of Italian cinema. Some of the Italian neorealism films the team watched together included Big Deal on Madonna Street, to those directed by Vittorio De Sica and Federico Fellini.

Enrico and team also wanted to nail the specificity of Italian culture; “we wanted to make sure we had consultants to check in with.” From the language itself to the gestures, “we had great help in finding ways to bring fun to the Italian language; we used cognates, things we can understand in both languages, and we wanted to give as much flavor as possible. We even had a blast finding a lot of Italian kid swears.”

Working during a pandemic

Working from home due to COVID opened up ample opportunities to get the right Italian actors for when the characters go to Portorosso in the film. Having the actors record in closets at their homes was Pixar’s biggest secret weapon to get that perfect VO performance during lockdown.  

Andrea Warren also mentioned finding the right actors to play the roles of Luca, Alberto and Giulia was challenging. “We wanted actors who would be willing to play, improvise, make mistakes, and have fun. We wanted to capture that nature of kids which isn’t overly polished.” They even auditioned over 1,200 kids before finding their cast.

Additionally, every shot in LUCA was made from home due to COVID; “it took an extraordinary amount of ingenuity, optimism, flexibility, humor, dedication and perseverance to make this film.”

Designing LUCA

When it came to the aesthetics of LUCA, Enrico wanted to make it look different and stand out from other Pixar films, “we wanted to capture a sense of period.” He loved ’50s/’60s Italy, so he wanted to make sure that was part of the film too. Enrico wanted an expressive, playful look; something that symbolized “this is kids having fun” and wanted it to feel as if the audience was jumping into a children’s book.

Daniela Strijleva, the Production Designer on LUCA, mentioned when they went to Italy for research they “wanted to capture what made the Mediterranean so unique, especially the depths of the blues and greens.” Sketching during their travels also gave them an ability to “remember the important details that they wanted to put in the film.”

The design team wanted to be playful with how they created their environments; despite the human world being drawn with straighter lines it was still “caricatured, imperfect, and where you can feel the hand of the artist.” They also paid attention to the minute details, even the signs that littered the town; it was really important to be authentic to what inspired them.

In contrast to the human world, “which is warm and sunny” the sea monster world is more like the deep blues and greens of the Mediterranean, so the visual language is more organic and everything is moving.

When it came to the individuals populating Portorosso, the designs were of working class people and something that defines all of Enrico’s stories. When creating the characters the design team gave everyone a specific job, and they looked at a lot of the aforementioned Italian neorealism films for the outfits. They also looked at films by Jacques Tati, “there is so much charm and humor to his pantomime.”

With Giulia, they wanted to give her a look that included surreal red hair that matched her personality and determination. Her outfit optimizes that ’50s working class color palette they were going for. The design team wanted the humans to wear a warmer palette, kind of nostalgic “that came out of a memory.”

Luca’s character design is gentler, rounder, more about the flow of things; “he has the biggest eyes of the entire cast of characters because he has a big imagination and takes in the world through those big expressive eyes.” Enrico also didn’t want the sea monsters to look like real fish, he wanted audiences to feel the hand of the artist in the designs of everything. You can even see the hand painted textures in Luca’s eyes.

In LUCA, color and light are the most important design elements. To help get the right color palette for the film, they used color scripts, which are visual paintings and emotional maps of the film done by the art department in collaboration with the directors of photography. “They want you to feel the way Luca feels, so they take something internal which is the emotions of the characters and express it externally visually through color and light.”

A sea monster’s transformational journey

Beth Albright and Sajan Skaria were the Character Supervisors on LUCA and helped create the sea monster transformations in the film. The transformation was at the core of the story; its rooted in Luca’s self discovery and exploration and even in the film’s major theme that friendships can be transformative.

One of the most difficult puzzles was figuring this out earlier on. Beth and Sajan looked at lots of imagery from the natural world to help inspire them; from reptilian and fish scales, to fur, wind and waves; they quickly concluded that the transformation shouldn’t be creepy. It should look bold and graphic to fit in the style of the movie and the transformation should come from the inside.

How the effects department at Pixar exaggerated real life elements

The effects department at Pixar is responsible for providing the natural phenomenon audiences see in the films. In LUCA that meant creating the sea itself, from the water, splashes, fire, smoke, rain, dust and even debris in the film. Jon Reisch, the Effects Supervisor, discussed how the effects give the characters a tangible reality; it feels like they’re interacting with the world.

In LUCA, the effects department had a chance to imbue the film with a sense of fantasy. They did this by creating stylized water effects, which was a challenge to them because this time, the goal was not photorealism. Enrico wanted a simplified elegance to the look of the film, “the elegance was inspired and leaning into the 2D influences but also delivering on all the visual influences and expectations they have on their style at Pixar.”

Some touchstones the effects artists kept going back to were 1) Studio Ghibli films and 2) Japanese Woodblock paintings with their suggested details that guide the eyes. Those touchstones had the simplified forms and shapes, clear silhouettes, and sinuous reflections they wanted to capture in the look of LUCA’s stylized water. The team wanted their effects elements not only to integrate into the stylized world and look plausible, but to enhance the world they were creating with their visual language and support Enrico’s artistic vision.

Bringing the richness of 2D animation into a 3D world

With the style of animation in LUCA, the animation team developed a custom style that was a departure from how the studio would normally tackle animation on a feature film. Mike Venturini, Animation Supervisor on LUCA, mentioned that at the core of the film they wanted to be inspired by 2D animation. Before starting animation on the film, they asked themselves how can they incorporate “bold illustrative choices and stylized timing of 2D animation while preserving the richness we’ve come to expect with a Pixar film?” Richness was a term Enrico used to make sure they didn’t lose too much detail in pursuit of their stylization.

The animation team wanted the choices of the posing to be bold; in 2D animation, they tend to be more illustrative with choices and wanted to focus on silhouettes and the design of poses when it came to animation.

Mike mentioned LUCA has 1500 shots in total. The lead character designers did an average of 10 drawings a scene to help the animators, which amounts to 15,000 drawings to help the animators keep everything on model and to match the style.

After the design elements were figured out with the characters, they finalized the style of movement. How did the team at Pixar take those graphic and illustrative choices and infuse the Pixar richness of how the characters moved in the world? To achieve this, they made specific timing choices in the animation to highlight those great poses and to get that 2D feel.

Another trick was using Multi limb (multiple limbs), which is a 2D animation trick that’s used in fast action shots. Using this in LUCA helped bring the personality of 2D animation into a 3D world.

La nouvelle bande annonce ainsi que les affiches me donnent très envie de découvrir le film ^^
Il va être dépaysant. J'ai hâte

Ces images sont sublimes. Merci pour la lecture.

Quel dommage qu'il ne sorte pas au cinéma.
Le film à vraiment l'air d'être magnifique (et plein de poesie) .

Merci pour le partage @L'Oncle Walt ! Les concepts arts sont superbes et pixarplanet.com n'a pas été avare en informations. Tellement hâte découvrir ce film !

Si certains sont intéressés par la chanson qu'on entend dans la bande-annonce, il s'agit de Il Gatto e la Volpe de Edoardo Bennato. La chanson fait références à deux protagonistes de Pinocchio, le chat et le renard, qui cherchent à profiter de la confiance et de la naïveté des gens, et au milieu du show business.

À noter aussi qu'en attendant de savoir ce que vaudra son doublage, on peut reconnaître à DisneyFrance d'avoir eu du flair quant au choix de la star.
Chiara Mastroianni n'étant nulle autre que la fille de Marcello Mastroianni, immense légende du cinéma italien dont le nom est marqué par ses nombreuses collaborations avec des réalisateurs de renom comme, entre autres, Fellini et De Sica, deux sources d'inspiration régulièrement citées par Casarosa sur la conception de Luca.
D'un point de vue promotionnel et référentiel, c'est raccord.

Je suis conquis par la beauté des deux affiches qui se complètent, elles sont si rafraîchissantes et colorées.
La bande-annonce est très sympa ! J'ai vraiment hâte de voir le film.

Encore une fois ce sera à la maison mais j'espère que le film nous permettra de nous évader un petit moment.

Coppelius a écrit:

Par contre la taille des parents aquatiques me turlupine sur l'affiche.

Effectivement, j'ai tiqué aussi sur la taille des parents sur la première affiche!

Le film s'annonce en tout cas très prometteur, frais, coloré, faisant la part belle à l'évasion, ça faisait longtemps qu'un film ne m'avait pas rendu aussi impatient !
Les concept arts postés sont également magnifiques ! Je pense me commander l'artbook de ce film pour en voir plus !

Encore des concepts art qui augurent une jolie fête déguisé

Un article d'INSIDER a recueillit les confidences anonymes de certains employés de Pixar. Ils partagent leurs incompréhensions, frustrations et leurs inquiétudes de voir leur derniers films être vus uniquement en streaming, et sans être proposés dans les salles de cinémas alors que d'autres films Disney sont proposés avec Acces Premium.

Que Soul soit proposé uniquement en streaming aurait peiné Pete Docter, frustrations adoucies par le succès rencontré par le film. La plupart chez Pixar était d'accord sur le fait que proposer Soul en streaming en pleine pandémie était sans doute la meilleure décision, regrettant que le film avec le premier personnage principal noir du studio soit privé de salles.

Mais l'arrivée de Luca sur Disney+, alors que la situation sanitaire s'est améliorée et que les films d'animations font les meilleurs scores du box office actuel, provoque beaucoup d'incompréhensions, et de frustrations de ne pas pouvoir voir leur travail sur grand écran. Certains craignent que l'absence de succès en salles finisse par avoir un impact sur Pixar.
Pour d'autres cependant, l'arrivée sur Disney+ est plus compréhensible. Un film Pixar est un fort produit d'appel pour Disney+, et Disney choisit ce qui peut rapporter le plus. "Personnellement, si je fais ça pour que mon nom soit sur grand écran, je le fais pour les mauvaises raisons", a déclaré un artiste. Mais la plupart s'accordent sur un point : la qualité ne sera pas affectée. "Il n'y aura pas de changement dans la façon dont nous réalisons les films", a déclaré un animateur. "C'est ce qui est important : l'œuvre d'art. C'est ce qui compte."

INSIDER a écrit:

Pixar staffers frustrated by decision to send movies straight to Disney Plus: 'It's hard to grasp'


■ Sources told Insider that frustration is building at Pixar as movies like "Soul" and Luca" aren't getting theatrical releases and instead moving to Disney Plus.
■ Frustration is building at Pixar as movies like "Soul" and Luca" aren't getting theatrical releases.
■ Several Pixar staffers spoke to Insider about their concerns.
■ Pixar CCO, Pete Docter, was disappointed "Soul" wasn't shown in theaters, according to sources.


When it comes to a movie theater experience, the Steve Jobs Theater on Pixar Animation Studios' campus in Emeryville, California is one of the most special.

Sitting in one of the theater's comfy red velvet seats and catching a glance at the twinkly lights on the ceiling that animates into a shooting star as the house lights go down, it's hard not to be in a good mood before watching Pixar's latest, anticipated creation.

With less than two months before "Luca" comes out, the newest release from Disney's famed animation house that centers two boys who are really sea monsters, the theater named after the legendary Pixar chairman should be in heavy use. "Luca" director Enrico Casarosa and the company's brain trust — made up of chief creative officer Pete Docter, president Jim Morris, and other top executives — should be in there constantly watching the latest cuts of the movie as they prepare to sign off on another Pixar release.

But none of that is happening right now.

The pandemic has closed the once vibrant Pixar campus. In fact, no one in the US has seen a new Pixar movie in a movie theater in over a year. For months, movie theaters have been closed, leading to a previously unthinkable reality: new releases being made instantly available on streaming services and premium video on demand.

However, there are signs of normalcy on the horizon. An actual summer movie season is happening as more and more theaters are reopening around the country. Now titles like "F9," "Black Widow" (which will also be available on Disney Plus), "Jungle Cruise," and "The Suicide Squad" (also available on HBO Max) are slated for summer releases.

But, surprisingly, there will be no Pixar movies in theaters. In late March, Disney announced that "Luca" would only be released on Disney Plus. This comes on the heels of Docter's "Soul" being released exclusively on the streamer last December.

Several Pixar sources told Insider that frustration is building within the company as staff see their work appearing only on Disney Plus. They agreed to speak on the condition of anonymity as they are not authorized to speak publicly.

"'Luca' doesn't even have a premium price next to it," one staffer told Insider recently in bewilderment, referring to the added cost subscribers have to pay to see new releases on the service. "Does it make it lesser? It's hard to grasp."


'Soul' director Pete Docter was disappointed his Oscar-winning movie didn't get a theatrical run

Pixar's release strategy seemed to change practically overnight.

With most theaters shutting down due to the pandemic at the beginning of March 2020, Pixar's "Onward" found itself in limbo with nowhere to be shown after a theater run of just two weeks. It resulted in the movie, following two elf brothers looking to bring back their late father, becoming one of the first to break the traditional 90-day exclusive theatrical window major movies abide by as it was then made available for digital release. Soon after it was available on Disney Plus.

A month later, Disney announced it was moving Pixar's next release (and latest Oscar winner), "Soul," from June 19 to November 20 in hopes that theaters would reopen by then. But in October, news came of another release date change and that Disney was not going to release "Soul," centered around an aspiring jazz musician whose life was cut short, in theaters. It would become the first Pixar movie in its 26-year history to not open on the big screen. Instead, it was given an exclusive Disney Plus release on Christmas Day.


The news disappointed Docter, according to several sources with knowledge of the situation. But the frustration was softened by the fact that Disney was ecstatic by how well the movie performed on Disney Plus.
"That's what was so eye-opening. Disney was over the moon about the numbers," said one staffer familiar with the "Soul" release.

Pixar and Disney did not respond to numerous inquires to comment.

Most at Pixar understood that due to the pandemic it was the right choice to put "Soul" on the streamer. But the hope at the company, according to several sources, was this was all an aberration; that the film, featuring the first-ever Black lead character in a Pixar movie, would be the first and last time a movie from the studio would not open in theaters.


Kneecapped theaters need Pixar movies to remain afloat

As states began to gradually allow theaters to reopen late last year with limited capacities, it was family movies that enticed moviegoers to return.

DreamWorks' "The Croods: A New Age," Warner Bros.' "Tom and Jerry," and Disney Animation's "Raya and the Last Dragon" all topped the domestic box office its opening weekends in theaters with "Croods" and "Raya" retaining the No. 1 spot for multiple weekends.

With more theaters reopening as vaccinations ramp up, theater owners have been licking their chops to put "Luca" on their marquees as Pixar titles have historically brought families and adults alike in droves. The decision to release the film solely on Disney Plus came as a gut punch for an industry struggling to stay afloat.

"When that news came out with Disney's reshuffling of its 'Luca' release, it was very disappointing and very discouraging," Russell Vannorsdel, the vice president of Iowa-based Fridley Theatres, told Insider. "It's pretty clear the handwriting is on the wall that we will not be going back to normal, particularly with Disney."

Fridley Theatres, with 18 locations in the Midwest, is just one of many mid-market chains across the country that are not just desperate for new releases, but Disney and Pixar titles, as family content is a cash cow for these chains.

"'Soul' not showing in theaters had some levels of justification," Vannorsdel said. "It was Christmas. They wanted to promote Disney Plus. People were still very hesitant to go to movie theaters."

"'Luca' was scheduled for the summer and could have had an amazing theatrical run," he added. "That one is a complete head-scratcher. I honestly don't know if Disney has a master plan. I believe they are looking at each title at how it can best serve them instead of working with theaters."

'We don't want to be a title just on Disney Plus,' one staffer told Insider.
Sources told Insider that when news came that "Luca" would be released on Disney Plus, it was frustrating, especially for those who love to see their work end up in theaters.

"We don't want to be a title just on Disney Plus," said one staffer, who is working on several of its upcoming feature films. "These movies are crafted for the big screen. We want you to watch these movies with no distractions, no looking at your phones."

There's also the question of sustainability: Pixar titles have ridden a box office wave of success for decades. Its recent movies like 2018's "Incredibles 2" and 2019's "Toy Story 4" both earned over $1 billion worldwide at the box office. Some staff wonder if not going after box office dollars, even during a pandemic, will be harmful in the long run.


"If these movies aren't having $1 billion runs, does that hurt the company? You wonder that," said one animator.
A veteran staffer put the collective anxiety more bluntly: "Everyone is worried about keeping their jobs if our films aren't seen by Disney as financially successful."

Meanwhile, Vannorsdel believes Disney not allowing Pixar titles to play in theaters could have ramifications for the studio's other slate of movies.

"There's going to be less movie theaters for them to play their big-budget Marvel movies," Vannorsdel predicted, noting the recent close of Arclight Cinemas and Pacific Theaters in Los Angeles.

Dan Rayburn, a streaming media analyst, believes with streaming being so competitive right now, Disney needed to have Pixar titles released exclusively on Disney Plus to compete and bump up subscription numbers.

"Pixar is targeting a specific demographic and a lot of Disney Plus subscribers are families, so it makes sense if you're Disney that with Pixar you are going to target that more to your streaming service that has that kind of built-in membership," he told Insider. "They are going to do what makes the most money."


'If I'm doing this so my name can be on the big screen, I'm doing it for the wrong reasons,' one artist said.

Not everyone at Pixar sees doom and gloom because the studio's movies aren't playing in theaters.

"For me, personally, if I'm doing this so my name can be on the big screen, I'm doing it for the wrong reasons," one artist said.

To some staffers, the bigger adjustment has been working from home, as the Pixar campus has been empty since the start of the pandemic.

"It has its pros and cons," one animator, who's now been working remotely for over a year, told Insider. "The con is you no longer can go bounce off an idea with a colleague and get inspired. But the pro is the work to life balance is exponentially better. If you're a night person, take a nap during the day, then you can get work done at night."

Some staff point out that with Pixar's recent funneling of projects to Disney Plus, the opportunity for those rising up the ranks in the company to get their stories made has increased substantially. For example, there's the SparkShorts series in which Pixar employees are given six months and a small budget to create shorts that will go directly the streamer. The series resulted in two Oscar-nominated shorts: 2019's "Kitbull" and 2020's "Burrow."

And confidence is high that features currently in the works at Pixar — like the "Toy Story" spin-off movie "Lightyear" — will hit theaters.

But regardless of where they show up, several staff members at Pixar told Insider the same thing: the quality of what's being made hasn't been affected.

"There will not be a change on how we make the films," one animator said. "That's what's important; the piece of art. That's what matters."

Lien : INSIDER - Pixar staffers frustrated by decision to send movies straight to Disney Plus: 'It's hard to grasp'

Avec la réouverture des salles prévue pour le 19 mai en France, n'y a-t-il vraiment aucun espoir de le voir changer de case d'attribution ?
N'empêche, c'était bien la peine que Disney France retarde sans cesse la sortie de Raya pour au final le faire passer sur D+ pile quand les salles rouvrent...

La sortie de Luca aura lieu en exclusivité sur Disney+ à l'internationale, donc non, aucune chance que cela change uniquement en France.

Pour Raya, le cas est un peu différent, le film ayant eu une sortie "double" cinéma/streaming dans le monde (en dehors de la France). Disney France n'a quasiment fait aucune promotion pour la sortie de ce film, en dehors d'un message pour annoncer finalement la sortie uniquement sur Disney+, à la suite des nombreux reports. Il serait surprenant que Disney France fasse marche arrière, alors que d'autres films arrivent et les jauges en salles seront limitées. Mais si un film d'animation devait finalement sortir dans les salles françaises, ce serait sans doute Raya, et non Luca.

TheDreamwalker a écrit:

N'empêche, c'était bien la peine que Disney France retarde sans cesse la sortie de Raya pour au final le faire passer sur D+ pile quand les salles rouvrent...

La triste ironie du sort...