Grant doesn't paint any more, it seems, but when he and Dean do take up their pens, the results are despairing and nightmarish. The artwork for the film is produced by McKean himself and it all - from animated outlines, to stop-motion origami, to an inky world of imagination - perfectly complements the tone of the piece; dark and ghostly. Through the door to this other world, regardless of whether it is real, would seem to lie some sense of catharsis. An abundance of symbolism is present throughout - not least in the name of Freya, the Norse goddess who was aptly associated with both fertility and the afterlife - and she forms an interesting fulcrum around which the other characters pivot. Stephanie Leonidas more than holds her own in experienced company that together provides a quartet of delicate and poignant performances, despite the odd duff line. It's this naturalistic drama at the heart of Luna that lends it emotional substance, even if it's personal rather than profound. This is a real step forward in every sense for McKean.
This review was originally published on 13 September 2014 as part of our Toronto International Film Festival coverage.