“Flow” who wins an Oscar for best animated Film been celebrated – Specifically by us here at IndieWire -For its use of the free-to-download software, which enabled the film’s Latvian animation Team to create a lush, human free world of astonishing beauty and rising water.
Practically at the other end of the spectrum of what is possible, director Julian have created an LO-Fi, distanced, painful, gripping pastel vision of Florida in “Boys go to Jupiter. “The film was also made in Blender, but this vaporwave coming-of-age story could not look or feel more different.
The story follows rude (and intensely deprived of sleep) Teenaged Deliveista Billy 5000 (Jack Corbett) When he tries to drive for the $ 5,000 he hopes will give him the independence he longs for, even when absurd and miraculous things continue to happen around him, his friends and an orange juice factory run by Janeane Garofalo And Julio Torres. In the exclusive clip above, you can look at Billy’s long walk home, over a musical gap and the equally transporting landscape in Florida highways, after his phone and his reliable Swagway die.
Indiewire talked about reading about creating the function of a regular MacBook and how the appearance of the film was affected both by the timeless stranger by being a teenager and this specific moment of Internet enhancement, which is why Florida is the Petri dish in America, and how independent movies can find surprising, rewarding ways to make financial or logistics work for the history that
The following interview has been edited and condensed for clarity and length.
Indiewire: As someone from Louisiana, I really appreciate the oppressive hot winter vibes in the movie. There is this humid weirdness you can catch through the animation style.
Julian Gander:I’m glad to hear you say that. It is definitely the same region and has part of the same weirdness. In fact, I don’t know Louisiana so well, but for your enjoyment of the movie, let’s say it’s the same thing.
Oh, I mean, it doesn’t have to be. The foreigners are in Florida. It makes sense to me.
Yes, it is very meaningful. I feel like we all understand Florida like the hell of the United States. It is like the petri dish where America type of occurs. I think of what everyone who comes out of Disney World – the invention and construction of Disney World 75 years ago, conquest of the swamps, and then the kind of decay of the entire magical imagination is the world where this film takes place.
It looks like it was done in mixer. Is that how you created this world?
This was done in mixer.
Hell, yes. We love everything that anyone can download for free to create art.
This is the radical promise of the Internet. We love Blender – this year’s software, the hot software for the moment. I think about 20 years ago, when I was at AOL children, (there was) this idea that all these tools would come to us and all this amazing creative expression would happen, and I really started my career during what I think of as a golden age for it at Tumblr. We have almost seen a contraction of it and a transformation and a reorganization of the Internet that is very unsatisfactory. I think you would be very hard pressed to find any 2025 that is like, “I enjoy going online. I like the internet.” And that was not the case 10 years ago.
Being someone who walked on the computer all day was for a moment almost something to be proud of. It is also something that the film talks about: how we have all been a type of hood of the gamification and by the pastel fantasies, the technical industry sold us and how they restructured our entire life-in some ways without our permission and in some ways with our completely willing purchases.
I wrestle with this all the time, where it is, “am I just getting older? If I was a teenager now, would I still experience exciting connections online?” Probably. But it’s also something I want to talk about in the movie. Part of being a teenager is to find a way to have a beautiful life or see the beauty in the world when you basically have no good alternatives.
Can you talk a little about character design for your teens and others? I am curious about whether you experimented with the world’s scale or the level of expressiveness on the characters and how you fined all your strange little guys.
I have done 3D illustration for about a decade now, and much of the visual language has been developed from the limitations of the mixes – especially The limitations of using blender, which is infinitely powerful, on my little little computer. I only have one MacBook. But I would say that part of the look of the film comes from Florida. I grew up there. I haven’t been back in a long time, so that’s how I remember it: this very dreamy, sun thought, acid pastel spot with some junk on it.
The second part of it is this idea of the world played, where we see these characters a lot through the isometric point of view and at some distance. It is a very economically effective way to make scenes and make a movie. It avoids some of the most expensive things in 3D animation, which is a camera movement and character movement – especially moves within scenes. But I also think, creatively, the sale there is that we look at characters that have been isolated from each other and dehumanized in a way because of this new way of working that has given us over the past decade.
It is this really wonderful mix of the logistical and economic reality and creates characters that suit these limitations and a story that really thrives on them, actually.
It is the story of independent filmmaking. To me it feels like we’re at the same moment that live-action movies had 15 years ago, when all one Suddenly everyone had iPhones And everyone began to be born with a little camera knowledge. I think the same thing is happening in animation now. The tools are definitely there – and in addition to the tools, educational resources are there and the communities are there.
We had to find every shortcut that existed, and then we also had to find a way to do that work creatively. Which, almost no one goes in the movie, because walking cycles in animation are very time -consuming and when they look wrong you can really tell. It just crushes everything. So we have characters behind Gates, characters on wheels much or behind doors. Billy, our protagonist, is on a Swagway for the most part because it is the easiest to animate, but also, I think, sells his character as a speechless young man who flows through life in a very spooky way and tries to be unnoticed and unnoticed.
Swagway is so the key to him. Can you talk about the scene where he actually has to go home in the dark after his phone and his swagway die? It also has an amazing song at that moment as well.
I really like that scene because it takes place at night, and then we’ll see everything we just saw in a different light, and it’s new again. The thinking there was, “Ok, Billy has to move through the city, and that is the moment where we can show how small he is by setting him up against his actual environment.”
This is something that people talk about a lot in urban development-when you live in car centric America, the scale is for everything has waived. It is not done on a human scale. I think Billy’s point of view in that scene is as if he is in a world that is too big for him; And the signs he passes by – I think one of this is for the lottery, one of them says you will die and go to hell, and it just hangs over the movie.
It is a scene the kind of bridges day 1 in the movie the next day, where his life really begins to change. As in a traditional musical, I guess it would be the end of the first act. This is the Stasen. So here it is. But let’s see what will happen next.
“Boys go to Jupiter” will be released on Friday, August 8 by Cartuna and Irony Point.
