Iron Boy Review (2026 Toronto Film Festival)
Passion for creativity is a quality that I believe everyone can possess. However, that passion will be unique to an individual. Not everyone is meant to pick up a pen and create works of art, just as not everyone can become a writer. With Iron Boy, the directorial debut of former Pixar animator Louis Clichy, that passion for drawing is evident in every frame, and that love of animation flows through the entire film. It is just a shame that the narrative underpinning those splendid visuals is so frustrating.
The story follows young Christophe (Gary Clichy), a boy who seems to constantly lean to one side. This affects his day-to-day life, whether it be ruining his school photos or causing him to crash a tractor. After being seen by a doctor, he is forced to wear an iron back brace for an unknown period to help correct the issue. Viewed as a burden by his family, he decides to take the opportunity to learn the organ at his local church.
Visually speaking, the film is utterly breathtaking. It adopts a visual style that is oddly reminiscent of the Red Bull animated commercials, but with far greater detail and fluidity. A moment where Christophe cycles home is a particular standout, as it looks absolutely stunning. The many scenes in which we see Christophe playing the organ are equally remarkable, adding a transcendent quality to the film, as though we are ascending to a higher plane.
Gary Clichy is a delight as Christophe, bringing genuine heart and warmth to the film. While he can be a mischievous child in some scenes, it all feels authentic thanks to his impressive vocal performance. Brune Moulin, meanwhile, is equally charming as Christophe’s crush, Clara. While she initially uses Christophe’s iron brace to her advantage during a trip to a shop, she also develops a genuinely wholesome bond with him, resulting in one of the film’s most endearing relationships.
What ultimately ruins the film is its narrative. The storyline involving Christophe’s family and the farm is particularly bizarre. The film’s climax centres on Christophe helping the farm and, by extension, his family. However, throughout most of the film, his family refuses to let him help, believing him to be a burden who will damage the new tractor and ruin the crop. As a result, when his brother later begs for his help, and Christophe gives up his chance to perform, there is very little dramatic weight to the moment. Instead, you are left wondering why Christophe should sacrifice such an important opportunity.
Without that dilemma, there is no real drama and no tension. As a result, the film becomes difficult to relate to. It also does not help that Christophe’s family occasionally makes baffling decisions that defy logic, such as buying him an electric keyboard for the lessons he wants to take. This leads to numerous arguments and moments of conflict that feel forced and unearned.
Iron Boy is not a bad film, far from it. However, unlike its animation, which is among the most visually striking and unique I have seen all year, the narrative leaves a great deal to be desired. As a result, the film never rises above being merely fine overall.
★★★
Had its North American Preimere at the 2026 Toronto Film Festival / Having its UK Premiere at the 2026 BFI London Film Festival / Gary Clichy, Brune Moulin, Rod Paradot, Alexandre Astier, Jean-Pascal Zadi / Dir: Louis Clichy
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