Holiday films have a unique way of distilling the chaos and charm of the season into a concentrated two-hour capsule of joy, drama, and reflection. I decided this year to write about the new film That Christmas (2024) as it felt reminiscent, almost a kids version of Love Actually (2003). So, when I started researching the two films, it came as no surprise to me that Richard Curtis, who directed Love Actually, was the writer of the original books that inspired That Christmas.
Bringing his warm, whimsical touch to both films in unique ways, though separated by two decades, Curtis bottles the spirit of the season through interwoven narratives of the characters' lives. That Christmas adopts a heartwarming animated approach- this lends itself to capturing the wonder of the season- but it also plays with a broader audience in mind, making its messages simpler and more digestible, while Love Actually is a live-action classic. Both succeed in their own right but leave markedly similar aftertastes.
Love Actually is a kaleidoscope of relationships: romantic, familial, and platonic. The interconnected storylines offer a mosaic of perspectives on love's complexities, from unrequited feelings to the euphoria of new beginnings. Each thread is distinct, yet the film subtly reminds us of the universal undercurrent that ties everyone together during the holiday season: Love, obviously.
That Christmas, by contrast, presents its themes through a lens of whimsy and innocence. It weaves together a series of animated tales that mirror some of the same relational themes as its live-action counterpart. Resembling that of Love Actually, the stories in That Christmas show that ‘love’ can be both nurturing and confining during the holidays. In That Christmas, Danny feels upset when his mother, a nurse, has to unexpectedly leave for work on Christmas Day, but with his teacher's help, he gains a new perspective and creates a special celebration for her return. Similarly, in Love Actually, Sarah sacrifices her workplace romance to care for her brother, showing that love isn’t always perfect or well-timed but calls us to be present for others when they need us most.
Love Actually thrives on its richly layered characters, though not all of them escape Curtis’s occasional lapses into caricature. The raw vulnerability of Emma Thompson’s Karen, juxtaposed with the comedic absurdity of Bill Nighy’s Billy Mack, exemplifies the film’s tonal range. Some arcs, like Colin Firth’s writer Jamie, veer into fantasy, but the film’s charm lies in its willingness to let each story carry its own weight.
That Christmas opts for archetypes over complexity, a decision that works within the context of its animated format. The characters are endearing and their conflicts relatable, but they lack the depth that could elevate their stories from enjoyable to truly memorable. The film chooses a warm, fuzzy simplicity over the bittersweet edge of Love Actually, leaving little room for surprises.
Where Love Actually excels in its grounded depiction of a bustling London Christmas, That Christmas takes advantage of animation’s limitless possibilities to craft a world bursting with colour and charm. Snowflakes sparkle with an otherworldly glow, and twinkling lights transform every scene into a holiday postcard. Yet, for all its visual splendour, That Christmas often feels more like a beautifully wrapped gift than one with a particularly profound message inside. (A side note – writers and directors should stop depicting England as having a white Christmas, our last white Christmas was -sadly- 14 years ago.)
Furthering the grounded, live-action tone, Love Actually pairs its seasonal aesthetics with a more muted emotional palette. Its visuals support its central theme—love in all its imperfect, messy glory. While That Christmas feels like a comforting mug of hot chocolate, Love Actually is the glass of mulled wine that warms you while also leaving a faint bittersweet tang.
Ultimately, That Christmas and Love Actually serve two different appetites. The former is a love letter to the season's childlike wonder, a perfect choice for younger viewers and families. The latter is a grown-up reflection on the highs and lows of love over the Christmas season, packaged in all its messy, overlapping chaos. Both films underscore the importance of connection, but Love Actually dares to delve into the heartbreaks and missteps that often accompany it, while That Christmas keeps its gaze firmly fixed on the magic.
For viewers seeking a sense of escapism and innocence, That Christmas is a warm hug of a film. For those who crave a more nuanced holiday narrative, Love Actually remains the definitive modern classic.
Edited by Cormac Nugent
Image - Love Actually (2003) Thomas Brodie-Sangster and Liam Neeson (Vogue France)
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