Wolfwalkers is one of the most visually stunning animated movies since Spider-Man: Into the Spider-Verse. It offers a mix of watercolor backgrounds, Genndy Tartakovsky–inspired camera movements, and a solid dash of Miyazaki mysticism in its depiction of the bond between nature and the supernatural. These visuals, combined with its unique subtext of historical conflict, almost make the case for investing in Apple TV+ just to watch it.

The story, brought to life by Irish animation studio Cartoon Saloon (The Breadwinner), also has a bit of a Disney structure to it. In the year 1650, young Robyn Goodfellowe (voiced by Honor Kneafsey) has moved from England to the town of Kilkenny, Ireland, with her pet falcon, Merlyn, and dad (Sean Bean), a hunter tasked with keeping the townsfolk safe from wolves. Though there are hints of hostility between the Irish villagers and English soldiers, both sides equally fear the wolves, and the puritanical Lord Protector (Simon McBurney) running Kilkenny wishes to see them eradicated so that woods can be cleared for farming. Robyn, an aspiring hunter, would much prefer to be out in those woods with her dad rather than stay in the village performing household chores.

However, upon sneaking into the forest to follow her father and later track down Merlyn’s whereabouts, Robyn discovers Mebh (Eva Whittaker), a full-blooded child not unlike Brave’s Merida, with an abrasive personality and unkempt red hair. Mebh and her mom live in the mountainside among the pack as wolfwalkers: beings who can heal wounds, communicate with wolves, and even project their minds into wolf forms while asleep. Such figures have been regulated to folklore among the locals, while Lord Protector sees their abilities as witchcraft of a bygone pagan religion. Even as the two girls strike up a friendship, their plan to save the remaining pack is beset by some notable snags, including Robyn’s dad unwillingness to let her venture out.

A lot of the story work thanks in large part to Robyn and Mebh’s odd couple dynamic. What starts out as mischievous antics between two girls from opposing worlds grows endearing as Robyn becomes further educated on the advantages that come from wolfwalker powers. How she receives this education is a bit of a spoiler, but it makes for some incredibly expressive visual sequences that put the otherworldliness of these magical senses on full display. Of the two, Whittaker’s character demonstrates a more versatile emotional range, but Kneafsey still offers a mix of wonder and vulnerability toward Robyn’s newfound role in these mystical circumstances.

The story line begins feeling overtly clichéd only during the midpoint, when the dad’s commitment to the Lord Protector’s orders further strains his relationship with Robyn. Even though his actions are driven more by paternal fear than mean-spiritedness, you still wish he would quickly accept the existence of wolfwalkers rather than draw out his resistance, which could be lessen with a simple heart-to-heart.

Likewise, beyond a humorous woodcutter named Seán Óg (Tommy Tiernan), Kilkenny’s population doesn’t get much focus outside of Lord Protector himself, a not so-subtle, unflattering depiction of Oliver Cromwell as seen by the Irish historically. Yet while his personality feels like a cross between The Hunchback of Notre Dame’s Judge Frollo and Pocahontas’s John Ratcliffe, McBurney plays the character’s zealotry in a subdued manner that highlights his uncertainty in dealing with what he views as a legitimate threat. It’s not exactly sympathetic, but the depiction of this antagonist has nuance rarely seen in animated movie villains.

However, the main reason to watch this is its stellar animation, as Cartoon Saloon delivers and then some. There’s a strategic contrast between the village’s angular Gravity Falls–like character models and the compressed environment—specifically bird’s-eye shots presenting Kilkenny as literally boxed in—against the hand-drawn surrealism of the woods, trees, and wolves. Whether it’s from the wolves’ point of view or fires burning with an eerie reddish glow, each panel sparks a sense of awe in its unrealism. Even if there were Disney films out as competition—be they 2-D or 3-D—this movie would still look refreshing by comparison.

Wolfwalkers offers something for everyone to enjoy, whether it’s seen as a metaphor for the folly of humanity trying to tame forces beyond their control or a charming fantasy adventure. It borrows from the best but still features its own style and message. Whether the film will become an animated classic is unknown, but in 2020 it definitely qualifies as a must-watch.