Critics reviews

With its more traditionally constructed narrative and "normal" dialogue, Švankmajer considers Little Otik as the most conventional of his films. (22) However, what is striking about Little Otik is its configuration as a hybrid, "mutant" text, as itself a kind of alchemical stew mixing together a heterogeneous combination of ingredients.

Riffing on a primal myth about the consequences of man going against the laws of nature, Little Otik preys mercilessly on the fears and frustrations of parenting, pushing a young couple's everyday problems into the nightmarishly surreal.

But 127 minutes is a lot of time for a simple movie with one satirical point to make and one animated character to show. At 80 minutes, this might have been a delight. At more than two hours, it's so much of a good thing that it starts to become a bad thing.

Because this Czech master refuses to work in the scrubbed, antiseptic manner of most animators, this fable comes to life as hilarious and creepy. Finally, though, because of its obvious, reductive condescension, the picture is a half-hour too long.

However potent Little Otik may be at testing the limits of parental love, its the most deadpan piece of pop art this side of The Simpsons.

Much praised for surreal inventions like Dimensions of Dialogue, Faust and Meat Love, with their mix of clay-model animations and live action, visionary Czech director Jan Švankmajer now presents Little Otik, his modernised folk tale: a childless couple “adopt” a tree root resembling a baby - which terrifyingly comes alive.

Wonderfully performed (Veronika Zilková shades the acting honours) and executed, "Little Otík" reaffirms the director's reputation as one of cinema's true pioneers.