I should also add that this is fully animated, which is not really a given if we take a look at Asterix films from the 21st century because of the films that had Gérard Depardieu as part of the cast.
The title makes it really obvious that this is of course another Asterix movie (I will do without the accent for now) and just like the older ones, it is a pretty short one at under 80 minutes, which is not even the shortest from the series. "Astérix et les Vikings", which of course means "Asterix and the Vikings", is a co-production between France and Denmark from 2006, so this movie has its 15th anniversary this year already. Reviewed by Horst_In_Translation 6 / 10 Solid transition into the now for this first animated Asterix film from the new millennium Claudio Carvalho, Rio de Janeiro, Brazil
In the end, Asterix realizes that it is not fear that gives wings, it is love. But the Machiavellian and ambitious Cryptograf plan to marry his son Olaf with Abba and become powerful. While returning to the Viking village, Justforkix meets Abba, the daughter of Timandahaf, and they fall in love for each other. The stupid son of Cryptograf, Olaf, listens to a conversation of the coward Justforkix with Asterix and Obelix and kidnaps him. Meanwhile, the nephew of Vitalstatistix, Justforkix, is sent from Parisium to the Gaulish village to become a man and Asterix and Obelix are assigned to train the youngster.
They decide to chase the champion of fear in Gaul to learn how to fly and make them invincible warriors.
As her journey across the Old Norse world shows, by situating the sagas against the revealing background of this other evidence, we can begin at least to understand just how the world was experienced, remembered, and imagined by this unique culture from the outermost edge of Europe so many centuries ago.After another raid in an empty village, the chief of the Vikings Timandahaf misunderstands the explanation of his druid Cryptograf that "fear gives wings to the dwellers" and believes that fear actually makes the villagers fly. Along the way, she illuminates the rich but often confusing saga accounts with a range of other evidence: archaeological finds, rune-stones, medieval world maps, encyclopaedic manuscripts, and texts from as far away as Byzantium and Baghdad. To explore the sagas and the world that produced them, Eleanor Rosamund Barraclough now takes her own trip through the dramatic landscapes that they describe. On the crackling brown pages of saga manuscripts, trolls, dragons, and outlandish tribes jostle for position with explorers, traders, and kings. What emerges from these tales is a mixture of realism and fantasy, quasi-historical adventures, and exotic wonder-tales that rocket far beyond the horizon of reality. But the depiction of the Viking world in the Old Norse-Icelandic sagas goes far beyond historical facts. Beyond the Northlands explores this world through the stories that the Vikings told about themselves in their sagas. The Norsemen travelled to all corners of the medieval world and beyond north to the wastelands of arctic Scandinavia, south to the politically turbulent heartlands of medieval Christendom, west across the wild seas to Greenland and the fringes of the North American continent, and east down the Russian waterways trading silver, skins, and slaves.
Throughout the Middle Ages, long-ships transported hairy northern voyagers far and wide, where they not only raided but also traded, explored and settled new lands, encountered unfamiliar races, and embarked on pilgrimages and crusades. The medieval Norsemen may be best remembered as monk murderers and village pillagers, but this is far from the whole story.
In the dying days of the eighth century, the Vikings erupted onto the international stage with brutal raids and slaughter.