“A well-meaning comedy about childhood.”

Every child craves the feeling of being responsible for something important, even if it is quite minor in comparison to what their adult counterpart will be forced to navigate later in life. In the case of Atlas of the Universe, in which Paul Negoescu makes another charming comedy about pastoral life in his native Romania, we are introduced to Filip, a precocious ten-year-old boy living in a small country village with his parents. He dreams of becoming a famous soccer star, but must first get through the usual journey of growing up. On his birthday, his mother gives him a small bundle of money and sends him off to town with his father, to buy a new pair of shoes. However, a series of small mishaps occur that lead Filip to set out on his own, determined to accomplish this task, not realizing the array of lovable eccentrics he will meet along the way. As a concept, Atlas of the Universe is not particularly inventive or daring, but rather builds on its consistency. It leaves more of an impression as an examination of the various aspects of growing up, as told through this lovable story that may not venture far from familiar territory, but has enough heart and gentle humor to make up for its obvious narrative approach. Especially since it does have some interesting statements to make once we look past the predictable aspects seen in the foreground.

The structure of Atlas of the Universe is quite familiar but nonetheless compelling, since it follows a simple premise: a young boy and his father set out to achieve a certain task (in this case, buying shoes), only for a minor mistake to throw the mission into disarray, leading to a series of delightfully offbeat misadventures that build to an entertaining and satisfying conclusion. It’s something we’ve seen done before (it has elements of works like Abbas Kiarostami’s A Wedding Suit and Jafar Panai’s The White Balloon, with a young protagonist accomplishing a task in a specific timeframe), but still proves effective, since this kind of narrative is always entertaining. It’s also somewhat predictable, which viewers may find appealing since its simplicity gives it an undeniable charm. The more interesting elements are found in the film’s themes, which are still conventional but have a subtle charm that we can appreciate, particularly in its discussions regarding childhood innocence and the value of looking at the world through a child’s eyes, which makes everything seem so much more magical. There’s nothing quite like youthful imagination, and while Atlas of the Universe may not be as complex as we hoped based on some of the themes embedded at its heart, we certainly can appreciate its perspective beyond just a story of a boy seeking out new shoes. Thus, the film becomes a very charming exploration of his journey, touching on a number of additional themes that pique our curiosity as we work through the story alongside the young protagonist.

Atlas of the Universe doesn’t necessarily rework any of the conventions of the genre. The intention was never to be innovative, but rather to rely on familiarity, which is often the case with films targeted at a broader audience, especially younger viewers who don’t often see characters like themselves reflected on screen. Through a simple story and a tone that matches it, we find Negoescu making a film that isn’t always comedic, but exists somewhere between gently humorous and quietly melancholic, moving between the two in its efforts to explore the trials and tribulations of Filip and his family as they attempt to make the most of their challenging circumstances. It’s not a heavy-handed affair, and themes such as financial strain and the obstacles that come with it (which the film ultimately portrays through an idealistic lens without being too saccharine) are kept quite subtle, so as not to weigh the film down. The moments of sincere levity contrast well with the story, which is all about embracing childlike imagination, attempting to view the world through Filip’s eyes. It can sometimes be quite predictable, and plays each beat exactly how we would expect – but there is value in consistency, especially when working with something so genuinely charming in how it pays tribute to families that have to make the best of their particular circumstances. The film shows that there is always room for optimism with the right frame of mind, which is one area where younger protagonists tend to be most compelling, as seen throughout this lovable film.

Despite the title that suggests a sprawling, all-encompassing account of existence, Atlas of the Universe proves to be a subtle affair that never deviates too far from its central narrative themes, nor does it present anything daring or provocative in terms of its execution. Rather, it functions as a well-meaning comedy about childhood, a fable about family, friendship and the importance of following your dreams, even if they start with something as small as buying a new pair of shoes, since anything ambitious can only be achieved one step at a time. The film presents a very idealistic image of the world, not at all realistic – but it certainly makes for entertaining storytelling, with the structure of a young, inexperienced protagonist forced to rely on his resourcefulness and pure gumption resulting in a genuinely lovely socio-cultural trinket. It has some moments that are not aimed entirely at children (while still being very family-oriented), and it moves in familiar directions that could be frustrating to those seeking more depth – but good intentions and a strong sense of soulfulness ultimately define this poignant story of growing up and always seeing the best in every situation.