Anyone who has ever felt like they don’t belong can relate to the sensation of being an outsider. Whether due to physical appearance, ability or a more intangible element, many of us have felt like we exist on the outskirts of society, merely being fodder for the gawking mockery and entertainment of those around us. Yet, there comes a point where we have no choice but to stand up for ourselves, regardless of the cost. This is the starting point for Living Large (Czech: Život k sežrání), in which Kristina Dufková makes her solo directorial debut by telling the story of Benny, a happy-go-lucky teenager who enjoys cooking, spending time with his friends and generally being a pleasant presence around everyone who has the pleasure of making his acquaintance, with his upbeat demeanour and interminable charm making him quite a delight to anyone who takes the time to get to know him. However, a visit with the school nurse alerts Benny and his family to a startling truth: he is massively overweight and needs to go on a severe diet and exercise regime before getting to the point where his weight can have adverse effects on his quality of life. Suddenly, Benny is confronted with a seemingly insurmountable challenge, made only more difficult by the harsh words of the bullies that seek to cut him down to size, but through sheer resilience, he manages to defy the odds and prove to himself and those around him that he can take on this challenge, even if it means putting in more work than ever before. A very simple but endlessly charming animated comedy with a serious message and enough heart to make up for its somewhat rudimentary subject matter, Living Large is an absolute marvel, hailing from a director who may not be a household name, but whose wonderful sense of humour and firm commitment to her craft immediately situates this film as beyond essential viewing, and one of the best works of animation of the past year.

At its core, Living Large is a coming-of-age story about a young man learning the harsh reality of life after he is forced out of his self-contained bubble of oblivious optimism. The film is quite frank in addressing the subject at hand, and the director is not afraid to use terms like “obesity” and outright state that it is a condition that is both detrimental to health and socially reviled, an unfortunate reality that too few works of contemporary media are able to effectively convey. Terms such as “big-boned” and “chubby” are omitted from this film, not because the director is callous in her assessment, but rather acknowledging that these statements just soften the blow, when it is far more important to use the facts as they stand. Filtering this story through the lens of a teenager going through puberty and discovering the treacherous world of adolescence is very effective, since this is the time in which so many of us are finding out who we are, and are also unfortunately subjected to genuine cruelty from those who think that being different is cause for mockery. The honesty with which Dufková addresses these themes is astonishing and leads to a film that is wonderfully poetic in how it explores these formative years, looking at the protagonist’s journey with compassion, following his efforts to make a difference while also holding onto the qualities that he feels best represents him as a person, and which are truly worth maintaining. It’s a very compelling approach to looking at a difficult subject, and even at its most empathetic, there are obstacles that the film has to overcome, especially since it is clear in its intentions to use the most honest terms in the hopes of communicating the serious message, rather than trying to beat around the bush in anticipation for the audience to figure out the underlying meaning.

Tonally, we find that Living Large has quite a challenge ahead of it because it is designed to be a charming and upbeat story of the protagonist gaining confidence and realizing that he has the power to change his life, but it also deals with some difficult topics – in addition to the theme of obesity and bullying, the film also addresses divorce, disability and mental health, all of which are woven seamlessly into the fabric of the story, and play a part in the main character’s journey to understand the world that surrounds him. To manifest these themes effectively, Dufková works to create a consistently compassionate story. There are several very funny moments, and she is not against using Benny’s weight as the source of a few well-meaning jokes, since it can be just as harmful to be overly protective of someone with such a condition as it is to outright deride them for something many of them did not choose for themselves – the difference is that it is never mean-spirited or designed to be hurtful, but rather plays into his inherent quirks, which is something that anyone who has suffered with weight problems will immediately recognize. The tone of Living Large strikes the perfect balance between heartwarming and melancholy, making sure that every word is meaningful and carries some sense of compassion, even when it seems to be veering towards a more harsh register. This is important since even the slightest tonal inconsistency could hurt the film – on one end, it could be viewed as flippant, making a mockery of the main character and his journey. On the other, some may perceive it as overly sentimental and precious, too afraid to offend by trying to make us sympathize in moments where it isn’t necessary. The approach we ultimately get is a poignant, deeply compelling blend of humour and soft-hearted drama, both of which are essential to the identity of the film and everything that it ultimately represents when we look at it from a distance.

In addition to the striking emotional content, Living Large also has the benefit of being beautifully-made – there is something so endearing about how Dufková cobbles this world together, which is done through stop-motion animation, which has arguably become a boutique approach to the medium, but one that is nonetheless always compelling. It is not always as smooth and seamless as we would imagine, and it’s clear that the director is still developing her artistic voice – but the design of the film is extraordinary, with the vibrant colours and rich, evocative landscapes that are all handcrafted by Dufková and her team being one of the many exceptional qualities of this delightful, endearing film. This is not a film that wants to be a particularly complex affair, and this is reflected in many of the aesthetic decisions, which not only tell a story that resonates on quite a deep, profound level but also pay tribute to its culture, which is equally as important as any of its other elements. The Czech roots are clear throughout – the design of this quaint small town is incredibly detailed, and we find the small additions to clothing, food and general elements that situate this in a particular place only enrich the experience. Stop-motion animation tends to be very focused on the intricate details, and this film showcases that in absolutely vivid detail, being a handcrafted masterpiece that is as much a homage to the country as it is a very charming coming-of-age narrative. Every frame is simmering with beautiful details that make it so much richer and more compelling, and even if we aren’t entirely taken by the story, the film at least has enough unique visual components to make the experience just as compelling, which is something that has seemingly been lost in a lot of contemporary animation, which often lacks soul in how they tend to be constructed, and which allows this film to stand out beautifully.

Much like its title, Living Large is a very simple film with an enormous heart, which helps it grow into this invigorating, captivating comedy that is teeming with charm and soul, enough to make up for any narrative deficiencies it might have, particularly since it is telling a very simple story, albeit one that is layered in meaning that hint at something deeper beneath the surface, and offer us genuinely moving insights into the human condition, as seen through the perspective of this intriguing characters. Part social comedy, part coming-of-age narrative, the film is a delightfully irreverent exploration of a young man making his way through an unpredictable world, which is something to which we can all relate in one way or another, even if we haven’t ever felt quite this level of isolation and alienation from our peers as the protagonist here. It’s very moving, while never neglecting to be wholeheartedly entertaining in every possible way – the humour is precise and captivating, and the story has a strong emotional core that keeps it on course and prevents it from being needlessly weighed down by anything that it can’t handle or justify. As a whole, Living Large is a thorough delight – upbeat but never one-dimensional, entertaining without being bland, and consistently charming without ever veering towards becoming overwrought. It’s not a revolutionary work, but it certainly has the soulfulness required to hold our attention, which only highlights the inherent joys that are embedded deep within this film, and which make it such a wonderfully endearing, captivating piece of cinema.