In ‘Papaya’, Kellen has developed a whimsical but powerful graphic style, using cut- out, 2D animation with intensely vibrant colours and a carefully constructed soundscape, that combine to successfully tell the story of the adventures of one mischievous and brave Papaya seed, with no dialogue at all. It is a charming coming of age story inspired by Kellen’s own motherhood at age 36.
The story developed as Kellen observed her son exploring the world, and seeing the struggle between the need for independence and the desire to explore, with the need for mother’s guiding hand. It was written with co- author Patricia Oriolo. As she said in an interview with Kevin Giraud of Variety: -
“… suddenly I found myself rooted to care for a new life. I felt like I was losing the freedom and autonomy I used to have, while my most naive dreams and desires continued to provoke my imagination. It was a kind of existential crisis: I felt like a mother-tree and also a young seed at the same time.” (Kevin Giraud / Variety)
Papaya premiered at the Rio Film Festival in October 2025. Its European premiere just took place at the Berlinale on February 15th 2026.
Animation is a medium that allows for the imagination to go wild. There are no limits. The animators can use colour, form, sound and movement in any way they fancy. Here Kellen has created the lush universe of the papaya seed, as she seeks to find her way in the world, almost dies by taking too many risks and finally accepts that her role in life is to create life herself.
Kellen always loved animation and was particularly drawn to Children’s TV series, like “Barbapapa”. This was a series about a family of friendly ghost-like blobs who are, in effect, shapeshifting creatures, that have endless adventures as they struggle to find their place on this planet, while helping other people and animals. They used 2D with simple areas of colour and simple backgrounds to create atmosphere.
Kellen also watched other children’s animation series like ‘Pingu’ and eventually arrived at animation through her personal studies in graphic design. After starting out working with Alê Abreu as a designer on his two feature films “Garoto Cósmico”(2007) and “The Boy and the world” (2013), she was able to direct a 26-episode TV series called “Viri Viravento”(2017). It was here that Kellen really started to use her personal ideas to develop her whimsical & original animation style.
The Boy and the World
In PAPAYA, the little mischievous seed Papaya, has big dreams. She watches birds and insects, like dragonflies, soar up into the air and is desperate to fly as well. Distressed, she realizes that her destiny is to become a tree, but she yearns for adventures, wanting to rebel and explore the world. She manages to pull her nascent roots out, and, by manipulating them, she realizes she’s able to keep moving to avoid rooting permanently. As she travels through the forest, Papaya learns a great deal. But eventually, she can go on no longer and, by coming to terms with the destiny she was trying to avoid, she creates an oasis of green in what had been nothing more than a barren median strip on a highway. She has awoken her ancestral roots and accepted her life’s role in nature. There is no dialogue but her expressive sounds are beautifully generated by actress Aretha García, the big mother tree’ sounds are created by Brazilian singer Tulipa Ruiz.
Not having dialogue can be a problem, although it is becoming more popular, in particular with animation. Another successful example is ‘Flow’ (2024) directed by Latvian Gints Zilbalodis that won the Best Animated Feature Oscar in 2025 among 58 wins. Many shorts use the dialogue-free technique but it is less usual with feature films. It demands a shrewd critical eye from the director, to make sure that the story unfolds in a way that is clearly understood by the viewer. Here, in Papaya, Kellen even allows the viewer to penetrate into the inner sections of the plants where the nutrients flow while baby seeds are fed in a cozy cave. All these moments touch on Kellen’s environmental interests, as anything unhealthy can immediately be spotted and cause harm.
Kellen worked on the design ideas for the film using inspiration from many different arts, and crafts, including ethnic patterns, fabrics, and geometrical shapes created through cut-out collages. In particular, she sought inspiration in Central American & southern North American arts and crafts as well as Brazilian Amazonian ideas.
With the absence of dialogue as such, the music and the sounds take on an extra importance as they become, in effect, the dialogue. Papaya has a sound language of her own which the viewer begins to understand and sympathize with (created by Aretha García). Talita Del Collado, the sound designer created a combination of foley sounds from recordings taken directly from nature and people, mixing them to full effect. With her powerful and haunting voice, Tulipa Ruiz then sings Mother Tree & Borboleta (composed and arranged by her father Luiz Chagas).
Papaya’s mother tree is a wonderful image, full of warmth, and boldly reminiscent of the ancient Venus of Willendorf with the papaya fruits resembling rows of breast that symbolize fertility. It is an excellent choice. In Portuguese the plant is a ‘planta de Mamão’, and the word for suckling is amamentar, so it becomes like an icon for birth and fertility.
Some of the patterns and vibrant colours resemble cut-out designs of Matisse, as the rich foliage as the mother tree opens up like a fertile cornucopia surrounded by hundreds of seedlings around her at different stages of growth. Plants and animals glide by little Papaya, creating a kaleidoscope of forms and colours, tortoises, birds and insects, but it is the dragonfly that most fascinate her, as she sees it as a fairy godmother.
Priscilla Kellen
The screenplay was written by Priscilla Kellen with Patricia Oriolo, and was inspired by the book ‘Carocinho de Mamão’ by Mafalda P. Zemella ‘. However, the storyboard was prepared by Ju Nascimento and Mari Piedade, with design help from Orlando Capiu Cloiss.
PAPAYA (2024) DIRECTED by Priscilla Kellen
Written by Priscilla Kellan and Patricia Oriolo / Producers: Alê Abreu / Letícia Friedrich / Lourenço Sant’Anna /Priscilla Kellen / Exec Producer: Letícia Freidrich / Artistic supervision: Alê Abreu / Animation studio: Birdo / Original music score: Talita Del Collado, with special Participation of Tulipa Ruiz / Sound Design: Submarino Fantástico /Script Consultant: Indigo / Visual Concept: Leonardo Roberto, Marcella Tamayo, Orlando Cappi Closs, Priscilla Kellen / Animation Director: Fits / Editor: Elaine Steola / Character design: Leonardo Roberto and Marcella Tamayo / Original voices: Papaya: Aretha García / Grande Mãe- Mamoeiro: Tulipa Ruiz/
