DreamWorks Animation released its original animated film “Forgotten Island” in late September, marking a significant departure from the industry’s recent reliance on sequels and reboots. The film, which centers on friendship and Filipino culture, was created by Joel Crawford and Januel Mercado, longtime DreamWorks veterans who pitched the story several years ago. Featuring voices from singer H.E.R., actress Liza Soberano, and actor Dave Franco, the story follows two best friends, Raissa and Jo, as they embark on a final adventure to the mystical island of Nakali before Raissa leaves for college in the United States.
“Forgotten Island” opened to a modest $13 million in the U.S. and Canadian markets during its first weekend, bringing its domestic total to $23.6 million over two weeks. Globally, the film has earned $38.5 million against an $80 million production budget. This initial box office performance falls slightly below the average $14.6 million opening for original animated films from major studios, according to industry data. However, the film has received strong critical acclaim, holding a 95% rating on Rotten Tomatoes, and DreamWorks anticipates it may build momentum due to a relative lack of animated competition until early November.
Crawford and Mercado, who met nearly two decades ago at DreamWorks as storyboard artists, both served as writers and directors on the project. Their shared history includes work on titles such as “Kung Fu Panda 2,” “The Croods,” and “Puss in Boots: The Last Wish.” The duo aimed to craft a story authentically rooted in Filipino culture, reflecting Mercado’s Filipino American heritage and Crawford’s familial ties. The film incorporates Filipino folklore creatures and integrates Tagalog words alongside English dialogue, intending to offer a genuine representation of the culture without diluting it for wider audiences.
Mercado emphasized the filmmakers’ commitment to respecting audience intelligence through visual storytelling that provides necessary context, noting that contemporary viewers are increasingly comfortable with multilingual content. Crawford added that pursuing authenticity and breaking conventional expectations of what an animated movie should be was central to the film’s creation.
The success of original animated stories remains inconsistent in today’s market, where franchises often dominate. While blockbuster animated sequels such as Disney and Pixar’s “Toy Story 5” and Universal’s “The Super Mario Galaxy Movie” have generated over $1 billion globally this year, new, standalone narratives face challenges. Pixar, for example, has recently found it difficult to replicate the successes of its earlier original films. Nonetheless, authentically told stories rooted in distinct cultures have shown commercial and critical promise, as evidenced by titles like “KPop Demon Hunters,” which achieved significant streaming and theatrical milestones.
Beyond cultural representation, “Forgotten Island” speaks to a broader ambition by its creators to expand animation’s appeal beyond traditional family audiences. Upcoming projects including Laika’s PG-13 “Wildwood” and Brad Bird’s noir-inspired “Ray Gunn” are poised to explore more mature themes within the medium.
As Crawford noted, the current climate dominated by sequels may evolve as storytellers from diverse backgrounds bring fresh perspectives, encouraging originality. Though taking risks on new stories is challenging, the payoff can be meaningful both artistically and commercially.