24/10/2025 - The debut animated short of Jocelyn Charles expertly weaves haunting imagery and existential unrest

Humanity has always been in pursuit of the answer to the ultimate questions of life, the universe and everything. Where do we come from? What is the origin of life? Are we humans destined to wander alone in the endless vastness of space and time? According to French illustrator-turned-director Jocelyn Charles’ fascinating debut, the short animated film God is Shy – which screened at the 20th edition of Animest, the Bucharest International Animation Film Festival – the answer couldn’t be something as simple and mundane as British writer Douglas Adams’ “42”.

Charles depicts our desperate search for meaning as a long train ride, during which the characters fall victim to their most profound fears. Two illustration students are attempting to draw their darkest thoughts when a woman approaches them and shares the story of how she was able to communicate with God through her hypnotised husband. As her obsession grows and spreads, the students involuntarily dive into the unknown and eventually start to question their own purpose.

The set-up is strikingly reminiscent of Shirley Jackson’s haunting short story The Witch, which also takes place on a train and involves a stranger recounting a chilling memory from his past that flips the characters’ views upside down. Indeed, there is something eerie about a chance encounter during a trip – it’s almost like in this transitional state, as the world slips by your window, reality falls apart. The uninvited conversation feels like nothing but a mere reflection of your subconscious, with the strangers you meet wearing your face looking back at you. This framework lays out fruitful ground for solid existential horror that speaks to our very core and shakes up our perception of reason and self-worth.

It is very hard to fault God is Shy in any capacity – tonally, structurally and aesthetically, it achieves exactly what it intends to, leading the viewer gently into its unique atmosphere. The bold, raw colors contribute to its unearthly vibe; the flat characters over the richly texturised watercolour backgrounds remind us of a westernised version of Hayao Miyazaki’s films. Charles’s sharp, dynamic camera angles testify to his inventiveness and imagination. As well, his sense of timing is immaculate, and not once in its 15-minute running time does the film drag or rush through vital moments. The tale-within-a-tale construction alienates the audience, but then pulls it back in, establishing a distinctive fluidity between scenes. But what truly brings the story to life is the conversation between the two friends, with its authenticity and relatability. The dialogue-heavy first act facilitates a strong identity connection between subject and viewer, allowing us to follow along with pleasure.

Music is an essential part of this production. Composer P.R2B’s soundtrack sets the tone for each scene and helps guide us through the film’s complex philosophical musings. What starts as bird-like whistling evolves into a multi-layered composition with intense percussion as the plotline progresses. And then – a delightful reprise of the main theme by the end, which eases off the horror element and finishes on a more humorous note by establishing a nuanced and thought-provoking final few minutes. Yet dread still lingers as the circular composition of the plot leads us back to the beginning with an ominous final shot.

In the beginning of God is Shy, the young illustrators are discussing the distinction between fear and fright and explaining that they don’t really like horror – in fact, they are trying to “exorcise it”. However, what they’re missing is that an exorcism requires you to chase the demon out of someone. In their case, their demons crawl out into the real world and roam free, finally accumulating the power to physically torment them.

The most powerful demons are the ones reminding us how little and insignificant we are. We’re nothing but a speck of dust on the universe’s windshield, and there is nothing else to do but enjoy the ride before we crash into the hard glass surface of our mortality. That is, until God turns on the wipers and we fade into oblivion.