From a structural standpoint, "In Half" stands as an initiatory journey that follows a protagonist caught between two worlds: one of order and the other of chaos. This bifurcated framework unfolds through captivating animation, where visual elements fragment and overlap, creating a palpable sense of fragmentation and duality. This artistic approach reinforces the feeling of being "in the midst" of two realities, a central theme that resonates with the existential dilemmas of modern life.

The narrative is divided into three distinct acts, each representing a phase of self-discovery. The first act introduces us to a protagonist navigating a familiar environment, only to be swiftly pulled into a parallel world that challenges their perception of reality. This initial clash can be seen as an allegory for adolescence, where identity begins to splinter and be questioned.

In the second act, the story delves into the exploration of these dual identities, with the protagonist interacting with characters that symbolise different facets of themselves. Here, the narrative evokes Alice's encounters with enigmatic figures like the Mad Hatter and the Queen of Hearts, who embody the contradictions and absurdities of existence. These interactions enrich the character's development and pose philosophical questions about the meaning of life and our perception of reality.

Finally, the third act culminates in a resolution that, while ambiguous, invites the viewer to reflect on the acceptance of duality and the complexity of identity. This open-ended conclusion aligns with the philosophy of "Alice in Wonderland," where outcomes are not definitive and viewers are left with more questions than answers. The relationship between "In Half" and "Alice in Wonderland" transcends mere narrative structure; both works tackle the idea of an inward journey, where characters must confront not only the external world but also their own fears and desires. In "In Half," the exploration of duality becomes a meditation on human nature, inviting the audience to question their own identity.

The animation, with its distinctive visual style, employs colours and shapes to symbolise emotional and psychological states. This use of colour as a visual language draws a direct parallel to Carroll's work, where landscapes and characters are imbued with meanings that go beyond the superficial. The animation technique in "In Half" allows for a fluid representation of internal transformation, resonating with the metamorphoses Alice undergoes throughout her journey.

From a philosophical perspective, "In Half" explores themes of existentialism and absurdity, reflecting the concerns of thinkers like Albert Camus and Jean-Paul Sartre. The protagonist's struggle to define their identity in a chaotic world echoes Camus's famous reflection on the search for meaning in an indifferent universe. "In Half" positions itself as a masterpiece in the realm of animation, combining an innovative narrative structure with a profound exploration of identity. Its connection to "Alice in Wonderland" is evident not only in form but also in the philosophical questions both works raise. Ultimately, "In Half" not only entertains but also invites the viewer to a form of introspection that lingers long after the credits roll.

Animation is a form of visual storytelling that involves creating visual art and motion through the use of various techniques and technologies. In animation, images are manipulated to create the illusion of movement, bringing characters, objects, and environments to life. Animation can encompass a wide range of styles, themes, and intended audiences, making it a diverse and versatile form of storytelling.

Daveigh Chase, Rumi Hiiragi, and Mari Natsuki in Spirited Away (2001)

The fantasy genre features imaginative and often magical worlds, characters, and events. It explores realms beyond the boundaries of reality, featuring elements such as magic, mythical creatures, supernatural powers, and fantastical settings. These stories can take place in entirely fictional worlds or blend fantastical elements with real-world settings.

Elijah Wood in The Lord of the Rings: The Fellowship of the Ring (2001)

The short form refers to creative works characterized by their brevity and concise storytelling. Unlike full-length feature films, short films have a running time of less than 45 minutes, while TV shorts have a running time of less than 22 minutes.

Benedict Cumberbatch in The Wonderful Story of Henry Sugar (2023)

Through a child's imagination it tells the journey of a man who after falling prey to his fears, he must cross a universe full of magic, where he must find solutions to discover his self-identity.

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