Sitting down to watch DK and Hugh Welchman’s “The Peasants,” an animated adaptation of Wladyslaw Reymont’s Nobel Prize-winning novel, many interesting thoughts occurred, the most striking of which was the beauty inherent in the painted animation technique used, creating a hand-crafted look, reminiscent of early animation efforts. The co-directors used the same technique to great effect in their prior film, “Loving Vincent.” Secondly, the drama and the story itself hold many interesting facets, not the least of which is Kamila Urzedowska’s haunting voice performance as Jagna, a beautiful, modest, young peasant.

“The Peasants” is a dark story, thematically as well as visually. Told over four seasons, Jagna falls for the already-married Antek, whose wife is already unhappy with Antek’s advances toward other women in the village. Already widowed and seeking another wife, Maciej, the wealthiest peasant in the village decides to marry Jagna himself at the objection of Antek.

The Welchman’s play Jagna for a second fiddle even during the wedding reception, and the sad truth is that, despite her feigned happiness, she is shared by the wedding revelers as if she were a rag doll toy. As shocking as it sounds, the cinematography by Radoslaw Ladczuk, Kamil Polak, and Szymon Kuriata lends an intimacy to the event that is unexpected and combines effectively with the hand-crafted animation; “The Peasants” has a very lived-in, communal feel about it.

That communal feeling seemingly translates toward the events in the story, visually and by character. The difficulty with “The Peasants” is that every character orbiting around Jagna tries to force an arc of their own – Maciej untrusting of his new wife, the dishonored Antek, the spiteful and vengeful Hanka. The villagers assume that Jagna’s promiscuity is meant to be taken advantage of, drawing them inward.

Thematic darkness eventually turns into light, and “The Peasants” ends on a high note; The story is rather simplistic, and this is where the story struggles; the visual splendor of the animation overtakes Jagna’s journey.

Without having read the original book or seeing the 1973 miniseries, it is difficult to gauge the characters or the situations. “The Peasants” feels as if it is a richly told fairytale handed down generationally. Yet it also feels so simplistic that the only way the story could be told is from the animation. The production took five years, starting with a live-action shoot guiding the oil-painted frames meticulously capturing movement and feeling. Certain passages throughout the film work as intended, generating empathy, while the dourness of the community’s plight dampens any sympathies an audience might have with Jagna. Of note, a part of the animation team based in Ukraine continued to work throughout the strife created by the Russian invasion, showing remarkable resilience.

Ultimately, “The Peasants” falls flat against the beauty of the animation. Having been submitted by Poland as its entry into the Best Foreign Language Film at the 96th Academy Awards, and met with strong in-country approval, “The Peasants” is an exceptionally cultural movie, and from that perspective, one can respect what the Welchman’s and the multinational animation team aimed to achieve.

Expanding to Phoenix this weekend, “The Peasants” will impress visually.

The Peasants

Directed by DK Welchman and Hugh Welchman

Screenplay by DK Welchman and Hugh Welchman, based on The Peasants by Wladyslaw Reymont

Starring Kamila Urzedowska, Robert Gulaczyk, Miroslaw Baka, Sonia Mietielica, Ewa Kasprzyk, Cyprian Grabowski, Malgorzata Kozuchowska, Maciej Musial

R, 115 mins, Sony Pictures Classics