Viva Carmen reframes one of the most important operas of all time. Opera as an art form has existed for over 400 years, with one of its most famous works, Carmen, now 151 years old. Whether you’ve seen Carmen or not, you’ve almost certainly heard its iconic music, whether in an early scene of Trainspotting when Renton is trying to withdraw from drugs, or in Up, as Old Man Carl Fredricksen begins his day. Viva Carmen, the latest film from Chicken for Linda director Sébastien Laudenbach, takes this familiar classic and repackages it into a new story that feels utterly timeless.

Salvador (Milo Machado‑Graner) has returned to Seville after time away. He comes back under the tutelage of Antonio (Paul Minthe), a blind knife sharpener who can see visions of the future while honing sharp instruments. After witnessing a horrific vision involving the soldier José (Carl Malapa), Salvador and the other orphans in Belén (Soumaye Bocoum) become entangled in a journey to change fate, as Antonio foretells that the wild‑spirited Romani woman Carmen (Camélia Jordana) will be killed by José.

What stands out most about the film is its striking animation. Its sketch‑like style, which initially appears rough around the edges, becomes nothing short of fluid in motion. From variations in line thickness, bolding, and fading that convey a character’s heavy breathing to the graceful movement of Carmen’s free‑spirited, alluring presence, every frame shines with beauty. The film’s colours are vibrant and utterly dazzling, resulting in one of the best‑looking animated works of the year.

The film’s soundtrack is equally stunning, using opera music in creative ways. Although the film is not a musical, many scenes are driven by music, creating a score that makes several moments feel transcendent. Yet the film is more than just its aesthetic strengths; its narrative retains many of the opera’s familiar beats and themes, fate and love, while the inclusion of the children allows it to explore whether fate can be changed, or whether a ‘bad’ fate is truly bad at all.

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The film also illustrates how people can come together, especially through the bond between women. This is captured beautifully in the ending, which highlights how Carmen’s presence has shaped the lives of many characters in this world. And while anyone familiar with the opera will recognise the general direction of the story, I feel the film recontextualises its core ideas to create a final product that is truly special.

The voice cast is also nothing short of great, with Machado‑Graner and Bocoum as Salvador and Belén, respectively, serving as the film’s true standouts. Their performances carry much of the film, and they genuinely knock it out of the park. Jordana is also fantastic as Carmen, bringing this free‑spirited and powerful woman vividly to life.

Viva Carmen is nothing short of a great film, with every frame resembling a magical painting. It stands as one of the most breathtaking animated works of the year, and its story ensures that the beautiful animation serves a purpose far beyond simple window dressing.

★★★★

Had its North American Premiere at the 2026 Toronto International Film Festival / Milo Machado‑Graner, Paul Minthe, Carl Malapa, Soumaye Bocoum, Camélia Jordana / Dir: Sébastien Laudenbach

About the Author

Robert Ewing

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Rob is a freelance film critic and writer who specialises in Anime and Asian cinema. I have adored film since a young age, having watched films that were far too old for me, such as RoboCop, Die Hard, and Hot Tub Time Machine, to discovering the heights of foreign cinema through films like Headhunters and Battle Royale. Growing up with such a diverse catalogue of films that I cherished sparked my desire to discuss them. This passion eventually led me to become a reviewer. Dissecting films, speaking to filmmakers I admire, and showcasing the best of Asian and anime cinema is how I live my best and truest life.

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