23/05/2025 - CANNES 2025: Momoko Seto’s film is a visually stunning but slow-paced animation about four dandelion seeds, which favours atmosphere over narrative

Chosen as the closing film for this year’s Cannes Critics’ Week, Dandelion's Odyssey, Momoko Seto’s 75-minute-long venture into the unknown and the wilderness, is one of a kind. Four dandelion achenes (which the director’s notes suggest are named Dendelion, Baraban, Léonto and Taraxa), all very similar to each other save for one, are scattered around various worlds after the Earth’s collapse (most probably a hint that climate change has gone too far in the not-too-distant future). No people are seen on Earth or in any other of the numerous settings of the film.

The animated flick features strikingly powerful visuals that will immediately draw in the audience – particularly those who appreciate aesthetically pleasing and well-crafted imagery. All of the animals or plants shown look incredibly realistic, and the backgrounds against which they move or live are breathtaking. The impression is one of majesty, where even snails or mantises, when viewed up close, appear enormous and awe-inspiring.

The audience, however, should not expect the kind of fast-paced dynamism found in more mainstream takes on the subject, such as A Bug’s Life, Antz or the more recent Minuscule [+see also:
trailer
film profile] series-turned-films, because Dandelion's Odyssey is a contemplative movie where the characters don’t speak and where the sound design takes centre stage (Nicolas Becker’s work in this regard is remarkable and represents one of the core strengths of the film).

The real issue with Seto’s feature debut is that it appears to have a perfect structure but a weak plot. Despite events unfolding in quick succession, the rhythm way too often feels slow – mainly because nothing truly compelling is happening. The four main characters can sometimes come across as cute, but in the end, they don’t really have any distinctive traits that would lend real depth to the story. The film feels like an exercise in technical prowess: visually stunning, but rather empty. What are these dandelions really doing, when they could have settled in one of the locations but, instead, keep searching? What do they truly represent, and what kind of journey is being depicted? If one is willing to let go of the human need for logic, the film will appear remarkable; otherwise, those questions will keep surfacing.

Ultimately, the fact that the main characters look almost completely identical makes it very hard for the audience to really identify with them. It’s possible that the movie is trying to disrupt the usual narrative schemes by giving the audience a dream-like sensation where nothing has to really make sense, but the truth is that the feeling of puzzlement remains. Anyone can appreciate the film’s beautifully crafted visuals, which certainly make it stand out, and be struck by its portrayal of nature’s beauty. However, not all viewers may be willing to engage with its deeper or more abstract elements.

Finally, despite being an animated product suitable for all ages, it’s very unlikely that younger audiences will really appreciate the film, given its lack of proper character building. Because it relies only on the sweetness of these dandelion achenes, it becomes repetitive after 30 or 40 minutes (which would have been the ideal length for the movie anyway).

Dandelion's Odyssey is a French-Belgian co-production staged by Miyu Productions and Ecce Films, and co-produced by ARTE France Cinéma, Umedia, CNRS and Reepost. The film is sold worldwide by Indie Sales.