PHANTOM BOY. Wonderful family film [REVIEW]

The use of genre in Phantom Boy is treated just as loosely as in A Cat in Paris, the earlier animation by the Gagnol–Felicioli duo. In that film, the gangster crime story was merely a stylistic backdrop for a tale about a family rebuilding itself and overcoming trauma. In Phantom Boy, the creators turn to superhero cinema conventions. Within this framework, they tell the story of an eleven-year-old boy facing a serious illness.

Phantom Boy moves viewers with its sensitive portrayal of family bonds. It is, in fact, a perfect family film — one that will bring a tear to many eyes.

We first meet Leo on the night before his scheduled hospital stay, as he reads a comic book to his little sister before bed. Unsurprisingly, the comic features a hero in tights. From the very first scenes, the filmmakers hint at the genre they will be playing with. Alain Gagnol and Jean-Loup Felicioli, however, approach it with a wink, making use of narrative shortcuts and deliberately embracing a stylized, simplified reality.

After finishing the story, Leo tells his sister he has a secret. Since falling ill, he has developed an extraordinary ability. When he falls asleep, he can leave his body and, as a spirit, pass through walls, observe people, and fly above the city. At first, Leo uses this power only to keep an eye on his worried family. He is undergoing chemotherapy, and the doctors are searching for an antidote, uncertain about the prognosis they share with his parents.

But Gagnol and Felicioli break the dramatic narrative with a second plotline. At the same hospital where Leo is staying, Alex — a clumsy, not particularly well-respected police officer with a broken leg — is admitted. Alex happens to have information about a dangerous criminal plotting an attack on the city. Curious Leo befriends the policeman, and soon it becomes clear that they can help each other. Leo will track the masked villain, distracting himself from the heavy emotional weight of his illness, while Alex, using the boy’s information, will try to stop the criminal’s plan.

Phantom Boy isn’t built on intricate plot twists or deep character motivations. The creators sketch out their characters through caricature and exaggeration. This French animation has a captivating simplicity, revealed through its fairy-tale-like division between good and evil — with bright, expressive designs and easily recognizable traits. This method enhances the film’s comic-book atmosphere.

Gagnol and Felicioli often draw on the visual language of superhero films, and the story itself might seem like a simplified, condensed version of The Dark Knight. They repeat several scenes from Christopher Nolan’s hit, choosing similar locations and staging sequences in a comparable way. It’s not a direct copy, though, but a clever parody.

The villain’s mask hides his scarred face. Several times he tries to explain how he got his injuries, but something always interrupts him — usually some annoying detail or awkward situation. His dark backstory remains unknown, even though the antagonist is desperate to reveal it. In another scene, when the criminal tries to record a menacing message for the people of New York, the camera operator’s clumsiness prevents even a few seconds of usable footage. In these moments, as throughout Phantom Boy, menace and humor coexist side by side.

What I value most in Gagnol and Felicioli’s animation is its metaphysical atmosphere and the beautifully expressed extraordinariness of the boy — not so much in his supernatural power, but in his selflessness. Phantom Boy also moves with its sensitive portrayal of family ties. It is, ultimately, a wonderful family film that will touch many hearts. At the same time, Phantom Boy is a sharp, witty response to modern, bombastic American blockbuster cinema — though fans of that genre will likely find something to enjoy in this unique French vision.