The Red Turtle (Dir. Michael Dudok de Wit, 2016)

The first non-Japanese offering from the renowned Studio Ghibli, the Oscar-nominated The Red Turtle is exquisitely rendered in pencil lines and brushstrokes. The story, like the visual style, is simple and elemental. A man is washed ashore a deserted tropical island with sandy beaches, but every time the hapless sailor tries to leave the island, a giant red turtle appears and smashes his raft. This mysterious creature soon draws the man into a world of magical naturalism, where man and beast are transformed by their growing understanding of each other. Enigmatic and achingly compassionate.

Anomalisa (Dir. Charlie Kaufman, 2016)

A cerebral meditation on loneliness and identity, this stop-motion film from the genius mind of Charlie Kaufman sees customer service guru Michael Stone checking into Al Fregoli hotel. It’s not a coincidence; Michael (voiced by David Thewlis) suffers from the eponymous condition, causing him to perceive everyone as identical. The condition prevents him from knowing anyone fully, until he hears the sweet and sorrowful tones of Lisa (Jennifer Jason Leigh). Soulful and searching, Kaufman’s film is layered with visual and emotional meaning, and is also a masterful critique of capitalism.

Inside Out (Dir. Pete Docter and Ronnie Del Carmen, 2015)

It’s not an exaggeration to say that Inside Out is Pixar’s best film, and one of the greatest children’s films ever. The film’s pseudo-protagonist is Riley, a good-natured 11-year-old who has just moved from Minnesota to San Francisco. But the real stars are the anthropomorphised emotions inside her brain. There’s leader Joy (voiced by the ever-chipper Amy Poehler), Fear (Bill Hader), Anger (Lewis Black), Disgust (Mindy Kaling) – and then Sadness (Phyllis Smith), who Joy tries to ignore as much as possible. The move throws Riley’s Emotions into turmoil, and sends Joy on an epic quest through Riley’s brain. The ideas are unapologetically complex and intelligent, while the rainbow-bright visuals communicate the dangers and victories colourfully enough for kids to understand the feelings, if not the exact psychology. Just like life. World Of Tomorrow (Dir. Don Hertzfeldt, 2015) Seventeen minutes was all pioneering short filmmaker Don Hertzfeldt needed to craft a beguiling, frightening alternate reality. The story sees our future clones make contact with us, explaining what’s in store for humanity. When young Emily is contacted by her clone who lives 227 years in the future, she may still be too young to understand the implications. Featuring simplistic line drawings, the film is as beautifully innocent as its child heroine. It’s attuned to life’s nagging little mysteries, but also content in the knowledge that some questions simply don’t have answers.

Song Of The Sea (Dir. Tomm Moore, 2014)

Another Cartoon Saloon triumph, Tomm Moore’s warm film centres on a young boy whose sister is revealed to be a Selkie, making her transform into a seal when she enters water. Song Of The Sea blends mysticism, myth, emotional realism – and a visual style that is truly enchanting. Unlike The Secret Of Kells, which was based in the visual language of stained glass windows, Song Of The Sea focuses on weather and the feel of air and water. An ethereal score and Irish-language songs, meanwhile, highlight an older storytelling tradition that also strengthens the modern animation.