With Ovary-Acting, director Ida Melum delivers a masterstroke of contemporary stop-motion filmmaking—one that pulses with humor, pathos, and a refreshing willingness to confront the emotional complexities of modern womanhood. Following her BAFTA-nominated and Annie Award–winning Night of the Living Dread, Melum once again demonstrates a profound ability to blend stylistic bravado with grounded, deeply personal storytelling. But this time, she takes an even bigger creative leap, crafting a short that feels both wildly imaginative and intimately truthful.

From the moment the film begins, it’s clear that Ovary-Acting is a labor of meticulous craftsmanship. Production and character designer Svein Erik Okstad conjures a miniature world so richly detailed and emotionally expressive that every frame feels worthy of pause and admiration. Combined with Jøran Wærdahl’s masterful cinematography—honed over twenty-five years in puppet animation—the film’s visual identity radiates with warmth, texture, and a tactile humanity that digital animation often struggles to capture.

Yet for all its visual splendor, the film’s emotional resonance is what lingers. Melum, collaborating once again with BAFTA-nominated writer Laura Jayne Tunbridge, crafts a narrative that fearlessly navigates the fraught terrain of reproductive choice and societal expectation. This is no simple comedic skit about biological clocks; rather, it’s an unflinchingly honest exploration of the pressures, anxieties, hopes, and absurdities tied to the idea of parenthood today. Tunbridge’s writing is razor-sharp—funny without flippancy, heartfelt without sentimentality—and the story’s tonal balance is a feat in itself.

The performances from Synnøve Karlsen and Sofia Oxenham are another standout element. Their vocal chemistry injects the film with electricity, giving its characters a liveliness that perfectly complements the animation’s handcrafted expressiveness. Their timing, warmth, and emotional nuance elevate every scene, driving home the film’s themes with both wit and vulnerability.

Editor Lesley Posso, a frequent collaborator of Melum’s, once again proves indispensable. Her editing stitches the film’s humor and emotional beats into a seamless whole, maintaining a rhythm that never falters. The narrative moves with confidence—never rushed, never indulgent—offering the audience a perfect window into its protagonist’s inner world.

And then there’s the soundscape. Joseph Stevenson’s score sparkles with charm, while Alastair McNamara’s original Broadway-inspired musical number injects a bold theatricality that sets Ovary-Acting apart from its contemporaries. These musical flourishes transform the story’s introspection into moments of spectacle without ever compromising emotional authenticity.

It is no surprise that the film premiered at Tribeca and earned the Grand Prize for Best Short Animation at RIIFF. Ovary-Acting is a brave, buoyant, beautifully realized achievement—one that speaks to the personal while resonating universally. With its Oscar qualification and mounting festival acclaim, Melum’s film feels not only like a standout of the year, but a landmark moment for stop-motion’s continued evolution.

Five Stars

Gracie Peterson