Winner of several international awards, including Best Animated Feature at the 2023 Cannes Animation Film Festival, “The Boy and the Sword” is a Turkish production directed by two Iranian filmmakers, with English being the primary language in the version made available to Asian Movie Pulse. The movie is currently available on Prime Video and Apple TV.
The Boy and the Sword review is part of the Submit Your Film Initiative
More than a thousand years ago, in the Mesopotamian city of Madain, the cruelty of the ruling Sultan reached its peak, making the pursuit of justice a near-suicidal act. Karen, a seven-year-old boy, treasures his wooden sword, a birthday gift from his father. But on that very day, tragedy strikes. The Sultan orders the execution of all who defy him, including Karen’s family. Only Karen survives, saved by his uncle, who flees with him to the quiet village of Mahuza. There, under the care of the warm-hearted Brochim family, particularly their daughter Dania, who grows close to him, Karen is raised in love. Still, grief never leaves him, and the dream of fulfilling his father’s mission remains strong.
Now, twenty years later, Karen returns to Madain as one of the rebel leaders, determined to complete his father’s legacy, fully aware of the price it may demand.
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CGI animation still has some way to go before it reaches the peak of hand-drawn artistry, but the progress is evident, and “The Boy and the Sword” stands as testament to that growth. The previously common “floating” feel of CGI is less present here, with character movements rendered smoothly in both action sequences and quieter moments. The detail and beauty of the settings, in particular, elevate the production. The coloring is rich and vivid, resulting in a series of striking visuals throughout. The city of Madain is especially memorable in its presentation, with its intricate architecture and the staging of battle scenes leaving a lasting impression.
Character design, however, leaves some room for improvement. While facial features are generally realistic, the children’s faces sometimes appear prematurely aged, and there are occasional mismatches between facial expressions and the emotional tone of a scene. These are minor flaws, though, and the overall technical quality is evident.
Narratively, the story holds up as well. Karen’s journey through the years is engaging not just because danger is always close, but also because he must navigate layers of betrayal and loyalty, gradually uncovering who he can trust. The wooden sword becomes a powerful symbol, of memory, hope, and the weight of legacy, and his development into a layered, emotionally complex character gives the story real heart.
Mehrdad Mehrabi Gargari and Emad Rahmani don’t rush the storytelling. They take time to build their world and flesh out the main characters before letting the action and drama unfold. This approach adds emotional depth, though it must be said that the first part moves slowly, and tighter editing could have made the pacing more engaging. A few secondary characters also feel underexplored, but considering the potential length a deeper dive would require, this restraint may have been the wiser choice.
In the end, “The Boy and the Sword” resonates on multiple levels. With its emotional storytelling and impressive audiovisual presentation, it is a project that easily earns the description “epic.”
