Absolutely everything about Ruben Brandt, Collector (Hungarian: Ruben Brandt, a gyűjtő) radiates pure artistry. It is set in the world of art collecting, is heavily inspired by the fine arts in how it was animated and stands as a work of art all on its own. A nightmarish and utterly brilliant blend of art and psychology, Ruben Brandt, Collector is a masterwork of contemporary animation, a breath of fresh air from the often overwhelming bombardment of saccharine stories and excessive execution produced by the major animation studios. There is something so visceral about this film, making it a stark outsider in comparison to other films of its ilk, but that isn’t necessarily a shortcoming, but rather a merit that warrants this film to be considered a masterpiece all on its own terms. Ruben Brandt, Collector is a film that dares to be different, to not only challenge the way films are made but also how stories are told – there does not need to be much rhyme or reason to a story well told, as evident here. This is one of the most original films of the year, with director Milorad Krstic crafting something that has a genius premise which it executes with deft simplicity, imbuing it with enigmatic complexities that serve to confound but never confuse. In short, Ruben Brandt, Collector is quite extraordinary, finding its place firmly within the canon of alternative animation that proves just because it is drawn doesn’t mean its for younger audiences, and I dare you to find an animated film in recent years as terrifying and beautiful as this one, or quite as twisted in its approach to looking at the human condition.

Ruben Brandt (voiced by Iván Kamarás) is a renowned psychologist who is known for his work in rehabiliating criminals and helping them transition back into society through his unconventional but ultimately successful means. His primary modus operandi is to make use of art, blending it with psychology in the treatment of his patients, helping them look at their soul through introspection inspired by artistry. However, when he goes to sleep, his passion starts to haunt him, and on a nightly basis, he is terrorized by the figures in the paintings he loves, who brutally kill him in his dreams, leading him to look for a solution. Along with his posse of misfits, including newcomer Mimi (Gabriella Hámori), a mysterious woman who is wanted for her theft of a historical artifact, they travel around the world, stealing the pieces of art through their individual methods of trickery, with Dr. Brandt collecting these paintings and putting them together, the only remedy for what is terrorizing him. Meanwhile, the dedicated but scorned detective Mike Kowalski (Zalán Makranczi) is searching for Mimi, and then later the mysterious “Collector”, with the well-intentioned detective being lead into the web of deception spun by this group of individuals, whose motives become more clear to Kowalksi as the chase progresses.

From the outset, the first thing you notice about Ruben Brandt, Collector is its unique visual style – and the fact that this film is inspired by art is clearly displayed in the animation, which is often directly derived from famous works throughout the years. Taking its inspiration from some of the greatest works in art history, this film becomes a living tableau of art history – everyone from Monet to Picasso, Dali to Duchamp is represented somewhere in this film, making this a treasure trove of artistic references. It can be unsettling at first, especially because the film opts for a more surreal approach, with characters being physically very different from what we’d expect (realism is certainly not a priority in this film it seems) and the style can be quite disconcerting, and often even overly disturbing. Yet, it flows exceptionally well, never appearing clunky or stiff. It is when you look beyond the unsettling images, one of the most beautifully animated films of the past few years. It can often be chaotic in how overstuffed it is with references – even the most ardent admirer of art history will find themselves overwhelmed, exasperated at the multitude of works that appear, either in the foreground or background, throughout the film. Ruben Brandt, Collector finds its success in how it approaches the concept of its style. It never feels forced, but the laborious effort in bringing this film to life is quite evident. This film does not feel like a first feature, but rather the work of a seasoned veteran – so considering this is the debut effort from the director is admirable all on its own.

Below the unique visual style, there is a solid story pulsating throughout this film, one that has one intention: to celebrate art. The passion the filmmakers had for this story resonates throughout Ruben Brandt, Collector, with the story being a dazzling mix of psychological thriller and enthralling heist, all tied together with the meticulous attention to artist detail. The premise is original, but simple, which is not entirely common, and it does well with a storyline that feels bigger than what we can see represented in an animated film, yet Krstic pulls it off with seemingly effortless ease. It doesn’t take someone with an extensive knowledge of art to appreciate Ruben Brandt, Collector for what it is, and while the hidden references do hold some meaning, for the most part, this film never deviates from the effectiveness of a simple story told well. It crosses genres without ever becoming convoluted, and even the final act, which is brimming with action and sees the intersections of the various plot threads scattered throughout, comes together to form a satisfying conclusion to a film that proposes itself as a surrealist masterwork but never becomes pretentious. It is a beautifully poetic work that combines the machinations of the human psyche with the broad excitement of the heist films that are just not made like this anymore. Perhaps the best way to look at Ruben Brandt, Collector is if Alfred Hitchcock had collaborated with Pablo Picasso in the creation of North by Northwest – and somehow, it just works well in the context of this film. Add in decent doses of James Bond and just a little David Lynch, and you have something so unique and singular in its vision, it becomes a masterwork all on its own.

Ruben Brandt, Collector is certainly not a film for everyone, being quite an acquired taste. Yet it is also a film that captivates the viewer like very few other films are able to. Whether it be the dazzling animation or the profoundly fascinating storyline, or how this film seamlessly blends psychology with art in its approach to looking at the human condition. It is an intricate postmodernist work, looking at the quandaries of an individual living in the modern world. Ruben Brandt, Collector is a surprisingly great film, one that goes beyond its simple but effective premise and delivers a truly engrossing, often extremely thrilling dark comedy that is as meaningful as it is truly gorgeous. This is a film that the artists depicted throughout would have been proud to have inspired. Art is such a vital part of human existence, so to see a film like Ruben Brandt, Collector, which is constructed solely to be a celebration of art is quite remarkable. This is a film that may divide audiences, and remain relatively underseen, but it is undoubtedly a major work that demands appreciation because when you have something so original and subversive, especially in a field dominated by formulaic conventions, it is impossible to ignore something quite as brilliant as this.