There are two stories shared by Robert Connolly and Alison Lester that perfectly capture the essence of their new film The Magic Beach.In the first story, Robert recalls the first time his daughter, as a child, dived under a wave at the beach. “We walked into the water together, and the wave was coming and her first instinct was to bop over it. And I was teaching her that she needed to dive. I’ll never forget this little kid diving under a wave, coming up and seeing the joy on her face.”And in the second, Alison describes a moment with her grandchild at the beach. “She was probably about two years old and it was very flat. She walked down the beach to the edge of the waves. We watched her and she was just this tiny little figure in this huge world and I thought, how fantastic to be a child and to have that freedom of being in that space.”These two stories really get to the core of what The Magic Beach is about: the shared cultural experience of going to the beach as a child. The film captures both the tangible - body surfing, sand everywhere, crabs scuttling by, the sting of sunburn - and the imaginative - building sandcastles and pretending they’re real, diving under the water to encounter mythical creatures. The possibilities are endless, and the beach provides the perfect atmosphere for that sense of freedom.The film, directed by Robert Connolly (Paper Planes, The Dry), is based on Alison Lester’s 1990 picture book of the same name and combines both live action and animation. The picture book doesn’t have much of a plot, but leaves much to the imagination, a quality that Connolly embraced in the film's adaptation.“One of the things Alison taught me through the book is to not fill the blanks in for children. To let their own imagination create narrative and story and threads. And not assume that children have to be force fed everything. And so I tried to capture that spirit with the film,” says Connolly.Their idea then was to bring in 10 different animators to craft 10 different segments based on whatever they came up with when they read the book. Then Richard would try and weave them all together into a cohesive movie with the live action segments.The result is a structure reminiscent of an anthology film, where we meet a child in the real world, then venture into an animated world of their imagination. Once their story concludes, we transition to another child (and even a dog) on a new adventure.Alison notes that this structure has resonated with young audiences in screenings so far. “They quickly picked up on the film’s structure - how it shifts from one child’s story to the next. They really engaged with it. It gives them something to look forward to, and they love wondering what’s going to come next.”This free-flowing, almost improvisational quality was something Connolly worked hard to foster during the film’s creation. He believes that if the environment on set mirrors the atmosphere he wants for the film, that energy will infuse the final product.“I think it's good to be loose enough as a filmmaker with children and a story that is about imagination and the natural world and just allow it to be free and to breathe. And then refine it during the editing process,” says Richard.“I think over my career, one thing I’ve learnt is: there’s something in the way you make a film that gets into the DNA of the film. It’s imperceptible, the intellectual part of you can’t even quantify it but if you want to make a joyful film for little children based on this beautiful book.”The Magic Beach is a visually stunning, emotionally powerful film. Its music, visuals, and free-spirited structure create a world where the viewer can lose themselves in the experience. And it’s the kind of film where, if your mind starts to wander from the screen and into your own world, it might not be a bad thing - in fact, it could be exactly what the filmmakers intended.The Magic Beach comes to theatres on 16 June.