Film
Mary and Max
- Drama
- Strange
Mary and Max is a stop-motion film about an unlikely friendship between a lonely Australian girl and a reclusive New York man. It's visually striking, emotionally complex, and darkly funny without being cynical. For anyone who values character depth and isn't afraid of sadness mixed with genuine warmth.
Should you watch it?
Watch it if you love stop-motion clay animation with a dry, melancholy wit, and stories where two lonely misfits slowly become each other's lifeline through letters rather than fast plot turns.
Skip it if you want brisk pacing or a steady stream of jokes, since this is a patient, sad-tinged film that lingers on loneliness and its quieter, awkward moments.
What it asks of you: It runs about ninety-two minutes at an unhurried pace, with long stretches of quiet, letter-led storytelling and a tone that shifts between gentle humour and real melancholy.
Not sure? Find tonight's pick in a minute.
If you liked this
Anomalisa2015
Charlie Kaufman's stop-motion meditation on isolation and connection. Like Mary and Max, it finds profound loneliness in everyday life and treats unlikely human bonds as genuinely sacred.
But Deliberately slow and formally experimental. Some find its sadness punishing rather than cathartic.

The Perks of Being a Wallflower2012
Captures the same tender intelligence about outsiders finding their people. Treats teenage confusion and adult damage with real gravity, never condescending or maudlin.
But Relies heavily on 80s indie nostalgia and can feel self-consciously literary in places.

About a Boy2002
A man and boy form an unexpected family through genuine need rather than sentiment. It balances cynicism with kindness in almost exactly the same register as Mary and Max.
But Sometimes lapses into British romantic-comedy lightness when the material asks for something heavier.

Not sure tonight? Get a pick in a minute, starting from Mary and Max
The wildcard
Something you would not have found on your own.
F for Fake1973
Both films are fundamentally about the truth of feeling versus the truth of facts. Mary and Max never confirms Max is who he claims to be—but does it matter?
Welles' essay-film on authenticity and deception. Like Mary and Max, it asks whether connection is real when built on misunderstanding or performance. A completely different form that asks the same core question.
But A 1970s experimental documentary collage. No conventional narrative. You need to be ready for Orson Welles being playfully difficult.

More like this (8)
Grave of the Fireflies1988
An animated film about love and loss that refuses easy catharsis. Treats childhood suffering as real and irreducible, with the same unflinching warmth.
But Devastatingly sad. Not a comfort watch. Based on wartime Japan, which carries its own specific pain.

Eternal Sunshine of the Spotless Mind2004
Both films insist that connection matters even when it fails. Same visual invention, same belief that loneliness is the human condition's central problem.
But Deliberately fragmented narrative. Some find it self-consciously clever rather than genuinely moving.

The Station Agent2003
Three isolated people form a quiet, unsentimental friendship. Like Mary and Max, it trusts the audience to find beauty in small conversations and mutual presence.
But Dialogue-light and contemplative. Not much plot. Requires patience and comfort with stillness.

Tangled2010
An animated film about two people rescuing each other through connection. Genuinely funny and emotionally intelligent, with real character growth over winking cynicism.
But A Disney film with all the commercial glossiness that entails. Very different visual and tonal register from Mary and Max.

When Marnie Was There2014
Studio Ghibli's haunting study of loneliness and friendship across a summer. Shares the same melancholy beauty and belief that connection saves us.
But Deliberately paced and somewhat abstract in its emotional logic. Not a narrative thriller.

A Ghost Story2017
Unconventional meditation on connection, loss, and time. Treats grief and longing with the same patient seriousness as Mary and Max, but through a stranger formal lens.
But Intentionally slow and experimental. The gimmick (a white sheet) could feel gimmicky. Demands active emotional engagement.

Harley Quinn2019
Both are about people the world has written off as broken finding that they matter to one person. Both trust that damaged people deserve tenderness, not condescension.
A show about two chaotic women finding meaning in their impossible friendship. Surprisingly tender underneath the violence and profanity. Animated but utterly its own thing—crude, alive, genuinely moving.
But Very adult animation with graphic violence and sex. Deeply irreverent. Complete opposite of Mary and Max's melancholy tone, despite shared DNA about outcasts and connection.

Synecdoche, New York2008
Both films argue that loneliness is not solved but inhabited. Both treat connection as fragile and miraculous precisely because it shouldn't work. Both are written by people who believe animation or formal invention can express emotional truth better than realism.
Kaufman's labyrinthine meditation on loneliness, art, and the impossible attempt to truly know another person. Formally daring, structurally dense, and devastatingly about human isolation.
But Narratively confusing and deliberately so. No clear plot. Three hours. Requires active participation. Not everyone believes a film has earned that much of your attention.

People
Cast
Toni ColletteMary (voice)
Philip Seymour HoffmanMax (voice)
Barry HumphriesNarrator (voice)
Eric BanaDamien (voice)
Bethany WhitmoreYoung Mary (voice)
Renée GeyerVera Lorraine Dinkle (voice)
Ian 'Molly' MeldrumHomeless Man (voice)
John FlausHarvey Krumpet / Ken / Len Hislop (voice)- Julie ForsythBus Stop Mother / Kissing Woman (voice)
Christopher Massey911 Operator / Ambulance Voice / Derisive Observer (voice)- Oliver MarksAlleyway Bully 1 (voice)
- Daisy KocherAlleyway Bully 2 /Injury Girl /Bus Stop Girl / Katherine (voice)
Directing
- Jemima DalyAssistant Director
- Adam ElliotDirector
- Sue CollinsFirst Assistant Director
Writing
- Adam ElliotWriter
Production
- Joni RubinAssociate Producer
- Leanne SmithAssociate Producer
- Pauline PiechotaAssociate Producer
- Brooke HowdenCasting
- Andrew MackieCo-Executive Producer
- Iain CanningCo-Executive Producer
- Richard PaytenCo-Executive Producer
- Bryce MenziesExecutive Producer
- Dale CorneliusExecutive Producer
- Jonathan PageExecutive Producer
- Mark GooderExecutive Producer
- Paul HardartExecutive Producer
- Tom HardartExecutive Producer
- Tom WildLine Producer
- Melanie CoombsProducer
- Monika GehrtProduction Accountant
Recommended by
Wallace & Gromit: The Curse of the Were-Rabbit, The Plague Dogs, Rain Man, The Pirates! In an Adventure with Scientists!, A Close Shave, James and the Giant Peach, A Matter of Loaf and Death, Santa Claus Is Comin' to Town, Shaun the Sheep, Mozart and the Whale, Bao, A Letter to Momo, The Last Polar Bears, I Lost My Body, Flowers and Trees, Animalympics, Peter Rabbit, The Star, Hedgehog in the Fog, The Fantastic Flying Books of Mr. Morris Lessmore, Adam, Tom and Jerry Tales, The Suicide Shop