What makes DreamWorks’ ‘Forgotten Island’ different from its other movies

“Forgotten Island” blends Filipino folklore, 2D and CG animation, 1990s nostalgia, and personal stories. DreamWorks Animation’s “Forgotten Island” opens in theaters Friday, Sept. 25, and it is a Filipino folklore movie entering a market crowded with sequels and established franchises.

What makes “Forgotten Island” a departure from the norm for DreamWorks Animation? Let’s clarify that what follows is not a movie review. Instead, this is an “explainer” on why this movie is getting so much attention, and the extra efforts that went into making this animated feature film.

The Hollywood Reporter called the “Forgotten Island” movie a rare example of original animated storytelling. The movie features a predominantly Filipino and Filipino American voice cast, including H.E.R., Liza Soberano, Manny Jacinto, Dolly de Leon, Jo Koy, Ronny Chieng and Lea Salonga. It opened in Philippine cinemas Sept. 23, two days before its U.S. release.

Here is what sets the movie apart from the studio’s recent releases.

“Forgotten Island” movie: An original story built on Filipino folklore

Reuters describes “Forgotten Island” as the first major Hollywood feature-length animated film inspired by Filipino culture and mythology. For context, a USC Annenberg study found Filipino actors made up just 6.1% of AAPI actors in 200 top-grossing films released in 2018 and 2019.

The story is original, created by directors Joel Crawford and Januel Mercado. It follows best friends Jo (H.E.R.) and Raissa (Liza Soberano), who tumble through a portal to Nakali, a fantasy island of folklore creatures.

Jo is a mischievous troublemaker who thrills classmates with gory tales from her grandmother, Lola Fatima (Dolly de Leon). Raissa is about to leave for the California Institute of Technology. The name Nakali is short for nakalimutan, the Tagalog word for forgotten.

Residents include a Manananggal named Manang (Lea Salonga), Batiba/Batibat (Jenny Slate) and Bungi the Tiyanak (Manny Jacinto). H.E.R., who is Black and Filipino American, told Reuters her mother used to warn her about the Manananggal.

Original score and tasty research

Mercado is Filipino American, and Crawford’s wife is Filipina. Both filmmakers have described the film as a tribute to the women in their families. Composer Nathan Matthew David wrote an original score using traditional Filipino and Indigenous instrument.

The film also features covers of 1990s pop classics by artists such as INXS and Tina Turner.

The Inquirer reported that both families joined a research trip to the Philippines. Filipino food got special attention. Mercado joked that the art department studied and ate the dishes it drew, and he named Raissa’s goodbye party, or despedida, as his favorite scene to animate.

A 1990s setting without smartphones

The story takes place in the Philippines in the 1990s. According to Cartoon Brew, Crawford said the 1990s setting reflects a time when growing apart could feel more final, before FaceTime and other forms of constant digital connection.

The plot centers on friendship bracelets imbued with powerful memories, and the directors cited 1990s street art, neon color palettes, and geometric shapes like triangles and squiggles as visual touchstones. Setting the story before cellphones also let the directors emphasize tangible connections.

The Animation of the “Forgotten Island” movie changes with memory

The film blends contemporary CG animation with influences from anime, Filipino art and 1990s graphic design, along with hand-drawn 2D sequences. Crawford said the filmmakers used both hand-drawn and CG animation to change the look depending on which character is remembering the past. Snipple Animation Studios in Quezon City contributed the 2D animation.

The result builds on the painterly approach Crawford and Mercado previously used in “Puss in Boots: The Last Wish,” while giving “Forgotten Island” its own visual identity.

What are the early reactions to the “Forgotten Island” movie

Much of the early conversation is about representation. Here is what specific outlets have reported so far:

• Filipino press, largely positive. The Manila Times called the film a milestone for Filipino pride, noting how specifically it portrays the culture and the number of Filipino and Filipino American artists involved. Philstar’s review described it as a milestone for showing Filipino culture in animation and hoped the film opens doors to showing more of what the country has to offer.
• Online reaction. The Inquirer’s Pop! site reported that a clip from the film went viral, with Filipino viewers calling one scene “aggressively Filipino” and praising small details such as food, rituals, and the noise of a packed living room. The article also reported that the directors brought their families on a research trip to the Philippines.
• U.S. critics. The San Francisco Chronicle’s review argued the film is a giant leap for Filipino representation and singled out its climactic memory-loss sequence. IndieWire’s reviewer said the creatures add to a cohesive sense of folklore but was less sure what some characters contribute to the story.
• Mixed notes. A review on The Movie Buff said Filipino viewers will spot references at nearly every turn, but that the film sometimes overdoes its iconography. Collider’s reviewer said Lea Salonga was underused as the Manananggal.

Reception is still early, so expect the conversation to keep evolving as more audiences see the film.