The process of animation is not only one of the most technical in terms of filmmaking, but also undoubtedly the most time consuming.

Certainly the art of stop-motion animation is a gruelling one, as anyone at Aardman can surely testify too, but it’s also a labour of love.

This latest Claymation venture comes from an unlikely source, Australia, which isn’t that well known for animation, but it is the home of Adam Elliot, with this being his second animated feature.

Looking back at her eventful life is Grace Pudel (Sarah Snook); she’s recalling it to a pet snail, who is a captive audience in every sense.

It’s a life that has seen plenty of grief and pain, with family members dying left, right and centre, and seeing Grace torn from her twin brother Gilbert (Kodi Smit-McPhee), with them fostered separately on either side of the vast country.

She becomes friends with the most unlikely of characters, such as the elderly, cigar-smoking Pinky (Jacki Weaver), as she navigates the many curious pitfalls that litter her existence, as she recalls the few ups and the many, many downs that make up her life.

As the 15 certificate suggests, this isn’t the type of film you could a double bill with A Wallace and Gromit: A Grand Day Out for your children, despite the similar Claymation appearance, as the film contains a surprising amount of adult themes.

The most notable one is death; it is a major theme of the film, which if nothing else illustrates how fleeting life can be. But it also covers things such as loneliness and depression, as well as body image. In fact it’s very emotionally weighted, which you don’t expect with this type of film. So if you’re looking for a feel good flick, this may not be for you.

Although snails do feature quite heavily in the film, the one mentioned in the title is a metaphor, as Grace is a person that not only lives in her shell, but it also doubles somewhat as a prison.

The animation is also a little more organic than the now very polished Aardman presentations, a little more rough around the edges, which gives it some authentic character. The rather beige colour palate throughout is a little disappointing however, as if the grey themes featured weren’t enough.

Writer and director Elliot certainly proves himself as a creative storyteller, as he moulds his world literally with his fingertips, but there is perhaps just a little too much darkness, as well as brown, tones, than really necessary. The ending has some emotional pull however, and may well induce a tear or two.

You can’t help but admire the craft, as well as the way it pushes the boundaries of its main character emotionally, but its overall lack of colour and optimistic light may make this animated film a little too life-like for some.