There is something truly special about Robot Dreams, the latest film from Spanish director Pablo Berger. It is not simply that it sees the maker of Blancanieves and Abracadabra shifting from live action to animation. It is a genuinely heartfelt and effective tragicomedy, and uses its brightly absurdist setting to tell a story that is both heartwarming and emotionally gutting at the same time. This is the sort of animated feature that displays precisely why it is such a valuable medium for storytelling. The story is fanciful, but the impact is real.

In a New York City populated by anthropomorphic animals, a lonely dog purchases a kit-built robot to be his friend. They soon establish a beautiful rapport, with an immediate bond and a wide-eyed joy at their adventures. On a trip to the beach, however, the robot rusts and must be abandoned on the sand overnight. The next morning, the beach has been closed until the following summer, and the dog has no way to reach and repair his newfound companion.

Robot Dreams is based on the comic of the same name by writer/artist Sara Varon. It uses a bright, simple design style that belies its emotional depth. Berger’s film packs its fictionalised New York with all manner of pop culture references and in-jokes, and a rich array of animal characters: turtleneck-wearing giraffes, crocodile junk dealers, and lollipop-sucking racoons abound. The assorted details help to make the film a visual delight.

It is the underlying character drama that surprises the most. When dog and robot commence their friendship, it feels authentically exciting and honest. When their idyllic life is thrust into crisis on the beach, that emotional honesty continues. The story regularly pushes in unexpected directions – some joyful, some tragic – and winds up in places that feel well-considered and effective.

There is no dialogue, and Berger employs delightful invention in expressing his characters without it. It makes the film’s other sound work critical to its success, and not only is the sound design marvellous the score and diegetic music are excellently developed. Alfonso de Vilallonga’s musical score is wonderful. The use of Earth, Wind, and Fire’s classic hit “September” is in particular pitch-perfect.

This is one of the finest animated features of the past few years, displaying imagination, innovation, and emotional heart. It is perhaps not surprising that Hayao Miyazaki’s much-hyped The Boy and the Heron scored nearly all of the awards for animation in 2023, but I have to tell you: Robot Dreams is by far the superior film. This one is a keeper.