"An army of small, all identical, angular characters, enters upon a struggle against anything that bears colors, blaming the world that is Servais' world, which is an allegory of a civil society, made of stylized Flemish cities, merry-go-rounds, Jack Puddings and little girls carrying balloons. Behind apparent simplicity of the plot and the commonplace universality of the message, 'Chromophobia' hides a formal complexity and symbolism that were already present in 'The False Note.' The use of a vocabulary of graphic signs, various symbols, treated very geometrically, almost like ideograms and oppositions are the result of a fully mastered choice. In order to achieve this, Servais has set up an effective system, in which an infallible rhythm allows ideas and gags to come together in accordance with an internal logic typical for animation, without ever leaving dead moments or even a pause. Each shot contains dynamic information that calls for what will follow. The film, immediately recognized for its innovative value, collects a dozen of prizes at festivals, among which the prestigious 'Primo Premio' at the 1966 Venice Biennale."

-- Abstract from the book Raoul Servais, A Painter-Filmmaker's Journey by Philippe Moins and Jan Temmerman. A writer specializing in animation based in Brussels, Philippe Moins is the founder of the Brussels Festival of Cartoons and Animated Films.