BE THERE! Corfu Animation Festival: 7-10 April 2011 - Corfu, Greece
Tuesday October 19th 2010, 11:24 am
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Winter isn’t here yet but we all know that it’s on its way so a trip to the beautiful Ionian island of Corfu, Greece in April might just be what you will need in a few months to recover from the grey dulldrums.  My friend Vassilis Kroustallis e-mailed me that the BE THERE! Animation Festival has put out a call for animation for the inaugural festival 7 -10 April, 2011.

Festival poster
Festival poster

There are two main competition sections:

Short Films that have been completed after 1/1/09 regardless of their country of origin, and

Graduation Films made as a graduation project after 1/1/09.  This category is open to all students regardless of where you went to school.

There is no entrance fee for submission.  You can read all of the regulations and download the entry form at:

http://www.betherefest.gr

Please send your films in DVD (PAL) format along with the signed entry form and accompanying documents to:         Be There!  Corfu Animation Festival

P.O. Box 288

Corfu, Greece

Deadline for submissions is 10 January 2011

For more information check out the Be There website at:  http://www.betherefest.gr

For answers to your questions contact Vassilis Kroustallis at:  info@betherefest.gr



SAN FRANCISCO FILM SOCIETY ANIMATION FESTIVAL - November 11 through 14, 2010
Tuesday October 19th 2010, 11:15 am
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Living in Europe I feel so fortunate to be able to see the best of the best of the new animations and I often wonder why these films are not shown in the United States on a regular basis.  When I looked at the San Francisco Film Society’s list of films for their upcoming animation festival, November 11 through 14 at Landmark’s Embarcadero Center Cinema, I was delighted to see some top notch films on the list.

Theodore Usher’s films are always complex and challenging and Lipsett Diaries is certainly no exception. The short film is in the form of a private journal evoking Canadian film maker Arthur Lipsett’s tormented life, from a childhood marked by loneliness to his suicide in 1986 at the age of 49.  Theodore’s haunting images are complemented by the script written by Chris Robinson, author of a number of books about animators and Director of the Ottawa International Film Festival.

from Lipsett Diaries
from Lipsett Diaries

I saw the Hungarian student film I Am Simon by Tunde Molnar at the Poznan Animation Festival in Poland.  The film gave me the feeling that I was indeed seeing the world through a dog’s eyes.  The black and white line drawings add to the feeling.

Bill Plympton’s The Cow That Wanted To Be A Hamburger is a departure, story wise, from his past films, but this fable about the power of advertising and motherly love conquering all still has Bill’s strong drawn images and the bold, primary colors fit the story perfectly.

The Brazilian graffiti artist known as Blu, uses urban surfaces as his canvas to create Muto which has a strong ecological theme.  The film has won numerous prizes at international festivals.

I have been an avid listener to National Public Radio’s Story Court since its debut.  When I learned that the very talented Rauch Brothers,   Mike and Tim, had been selected to animate a selection of these great oral histories for the PBS documentary show POV I was very excited.   The first episode debuted on 17 August and unfortunately I have only been able to watch the shows on my computer.  SFFS Festival goers will have the opportunity to see two episodes of the Story Court project.  Danny & Annie, Parts 1 & 2 is a classic love story of a couple remembers their 27 years of romance as they face the finality of loss.  I have not seen the second film Q & A.

The modern children’s book classic The Gruffalo by Julia Donaldson and Alex Scheffler has been brought to life by Jakob Schuh and Max Lang at the award winning Studio Soi in Germany (I don’t know why the film is listed as French since it certainly is not).   The Gruffalo tells the magical tale of a mouse who takes a walk through the woods in search of nuts.  He encounters three predators, an owl, a fox, and a snake, who all want to eat him.  The cleaver mouse uses his wits to survive, creating an imaginary monster who turns out to be only too real.

The 27 minute film was commissioned by the BBC and debuted on BBC One at Christmas 2009.  BBC One presents a lovely piece of animation for children of all ages each holiday season such as Lost and Found and Wallace & Grommit, A Matter of Loaf and Death.



FANTOCHE INTERNATIONAL FESTIVAL OF ANIMATED FILM September 7 through 12 Baden, Switzerland
Thursday October 14th 2010, 6:30 am
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­­“Fantoche, It’s Fantastic” is what I saw  when I first went to the website  for the Fantoche International Festival of Animated Film, and happily the festival  certainly does live up to this claim.  The historic spa town of Baden is a perfect setting for a festival; ruins of Roman baths were just down the street from our festival hotel but the films in the multiple screening rooms were fresh and up to date.

Fantoche welcome screen
Fantoche welcome screen

There were four International Competition programs which screened some of the most popular films from 2010, such as Olga and Pritt Parn’s Divers in the Rain and Anita Killi’s Angry Man, both of which have already won an array of awards at festivals all over Europe as well as in Japan, at Hiroshima.

I had not seen In a Pigs Eye by Japanese director Atsushi Wada, but I was immediately taken with Wada’s surreal snapshot of the life of a family and an ever expanding pig.  The film needed no dialogue, telling the story in clean lines; I was not at all surprised to see Koji Yamamura’s name listed as an adviser when the credits rolled. The jury seemed to agree with me, awarding In a Pigs Eye the Grand Prix.

My Childhood Mystery Tree is a children’s fairy tale that adults will also recognize themselves in while they watch the film.  Russian/Armenian animator Natalia Mirzoyan uses beautiful drawn images in subdued colors to take you into a little boy’s dream of losing his teddy bear.  In his search for his beloved teddy he destroys his childhood world and enters adulthood.  In the directors’ chat, Natalia confessed that she did not want to lose her childhood and that the film is based on a reoccurring dream that she had.   She gave me a copy of her film and every time that I watch it I find new depth in it.  I look forward to seeing more films from this young animator.

Nancy, Natalia Mirzoyan and Nik
Nancy, Natalia Mirzoyan and Nik

As I watched Leonid Shmelkov’s Dog Walking Ground I had the feeling that I had seen this film before.  The characters, style and story seemed so familiar but I knew that I had never seen it before.  When the credits came up, Ivan Maximov, one of my favorite animators, was listed as Shmelkov’s professor.   Leonid has learned his technique well, but I hope this talented young man will strike out in his own direction with original design and ideas on his next project instead of turning out an overly long copy of his great mentor’s work.

If the two programs of Swiss Film Competition films are any indication, Switzerland is in no danger of losing its place in the forefront of professionalism and creativity in the animation world.  I was captivated by Miramar when I first saw it at the festival in Poznan, Poland.  Swiss animator Michaela Muller presents an idyllic vision of a family trip to a Mediterranean Beach which turns to gritty reality as the two children break out of the safety of their gated tourist community and quickly find that life outside the gate has nothing to do with the safe life of their camping site when they stumble upon an illegal immigrant’s shack.  Michaela’s background as an illustrator and painter is very evident in her use of paint on glass to create this visually stunning film.  One beautiful scene of the family silhouetted inside their tent lit by the camping lamp and seen from the outside has stayed with me since I first saw the film months ago.  The Swiss Competition Jury selected Miramar as the best Swiss film.

Heimatland was inspired by the recent Swiss law passed by voters banning the building of minarets on mosques.  Directors Andrea Schneider, Loretta Arnold, Marius Portmann and Fabio Fridli used puppet animation to portray the stereotypical Swiss patriot whose idyllic life is shattered when a man with a foreign appearance moves into the apartment next door, causing the wildest fantasies to rise to the surface of his very sensitive Swiss mind.  Heimatland is just the sort of story that animation is perfect to tell; the kind of story which could be offensive in live action but in animation is satirical.

2011 was proclaimed the year of the fairy tale at Fantoche.  If anyone knows about casting magic spells, animators do, and to that end the festival, with the assistance of guest curators put together several programs of fairy tales that were definitely not for children.  Since the 19th Century, satirical versions of fairytales have been used to point out social injustice.  Fairytale adaptations span   a wide diversity, ranging from faithfully classic adaptations of the original stories such as Lotte Reiniger’s silhouette animation The Gallant Little Tailor to unconventional adaptations of Cinderella such as La Jeunne Fille et Les Nuages by the Swiss animator Georges Schwizgebel or the surreal puppet film Allerleirauh from German animator Anja Struck.  The Wonder Tales program pushed the traditional notion of the moral fairy tale with such films as Granny O’Grimm’s Sleeping Beauty which transforms a traditional bedtime story into a very funny, biting comment on gender, youth, and the Grey Panthers.

My favorite Fairy Tale screening was Same but Different:  Variations on Little Red Riding Hood.  From a pre-code Betty Boop in Dan Fleischers Betty Boop:  Dizzy Red Riding Hood to delightfully outlandish Eastern European adaptations such as Piotr Dumala’s darkly humorous Little Black Riding Hood, the 10 films in this program were but a fraction of the hundreds of animated retellings of this age old classic tale.

There was one fairytale program designed to enchant young audiences without giving them fears of nightmares but by and large the fun was reserved for adults.  Five films made up the Fairytale Feature Films program, most of which could be enjoyed by the entire family.  The first feature animation to be produced in full color, the 1937 Disney classic Snow White and the Seven Dwarfs, looked as beautiful as the first time I saw it on a big screen when I was a child.

Jiri Trnka’s Bajaja proved once again that puppet animation and fairytales go together.  Seeing any film by Hayao Miyazaki on the big screen is always a treat and the pristine print of his My Neighbor Totoro made it a double happiness.  For an older audience, Lotte Reiniger’s immortal classic The Adventures of Prince Achmed was screened with live musical accompaniment.

Other feature films included The Fantastic Mr. Fox which was screened following the opening night ceremony, The Illusionist, Chinese animator Liu Jian’s Piercing I, Elemi  from Japan, and Metropia, all of which I have written about in other articles.

My favorite film at the festival was the beautifully animated feature Kerity, La Maison Des Contes (Kerity, House of Tales).  Director Dominique Monfery has captured perfectly the world of a young boy who can’t learn to read despite all of his efforts and a great deal of teasing from his sister.  When he inherits his aunt’s library of fairy tale books everyone thinks that it is a strange gift, but he is swept into a world where the characters in the books come to life reveling the secrets in the pages of the books.   I don’t want to reveal the events that lead up to Nathaniel learning to read, but he does because it is the only way he can save his new friends who are in grave danger.  This sensitive portrayal of a child overcoming a learning disability will be especially meaningful to anyone like me who has lived with dyslexia  all of his life, while the beautiful hand drawn artistry of the film and the beguiling story will enchant every member of the family.    The film will be released to theatres in December.

Sixty years of filmmaking in Croatia was celebrated with three separate programs introduced by the well known Croatian animator, musician and professor Daniel Suljic.  The Early Years –A Golden Age presented films from the 50’s and 60’s including Dusan Vukotic’s Surogat (1961).  This was the first non-American film to win an Academy Award in what was then classified as Short Subject – Cartoon.  It still holds the honor of being Croatia’s only Academy Award winning film.  Flying High showcased the Golden Age of the Zagreb Film Studio  from the late 60’s to the early80’s.  New Generations featured works by the new generation of Croatian animators such as Veljko Popovic whose film She Who Measures has won multiple awards.  New Generations showed that creative animation is once again alive and well in Croatia and a program of films from current students at the Zagreb Academy of Fine Arts quickly assured me that a great tradition of animation will be carried on through the next generation.

On Friday evening the Croatian Cultural club of Baden hosted a reception at the festival cafe with singers and dancers in traditional dress.  Delicious native pastries and savories and fine Croatian wines helped to transport all of us to Croatia for several hours.

Croatian folk dancing at the Croatian reception
Croatian folk dancing at the Croatian reception

Additional programs consisted of a showcase of Don Hertzfeldt shorts, an impressive program of student films from the German School of Art and Design Kassel, and a retrospective of productions by FilmTecknarna from Stockholm, Sweden.  Founded in 1981 by Stig Bergqvist, Jonas Odell, and Lars Ohlson to nurture their interests in graphic design and animation, the studio now has a branch in New York City as well as the original Stockholm studio.  Known for production of music clips, advertising spots and TV series for Scandinavian and the international market, they have remained true to their roots despite their commercial success and continue to foster personal films such as Jonas Odell’s Never Like the First Time, which has won awards at many international animation festivals.

Fantoche offered much more than just exceptional screenings.  The four Coming Soon  presentations gave me a chance to see features, shorts, and TV series that are still in the work-in-progress stage.  Billed as a “pitching platform for specialists”, the two presentations that I saw whetted my appetite to see the finished films.

Marc Bertrand, who has a history of producing stereoscopic short films at the NFB of Canada, talked about his experiences as a 3-D film producer and presented part of his current project Les Yeux Noirs.  Despite the technical problems with the 3-D screening, the story of a young blind boy looks like it will be an interesting exploration into the sensory perceptions of the blind in a playful manner.  I look forward to seeing director Nicolas Lemay’s hand drawn, black and white adaptation of Gilles Tibo’s story.

Each afternoon “Meet the Artists” gave everyone an opportunity to listen to the animators speak about their films and ask them question in the relaxed atmosphere of the festival upstairs bar.  The animators’ chat sessions are always one of my favorite events at festivals.  I love the opportunity to delve deeper into the films that I watched the previous day and although I seldom change my opinion of a film I often will look at it differently the next time I see it after hearing an animator talk about their motivation and objective in making their film.

One special session was devoted to Swiss animators and I was especially interested to hear the creators of Heimatland talk about what motivated them to make a film about prejudice in Switzerland.

The “Animation and Game Design” series was launched at Fantoche last year.  For the 2010 edition, students from Zurich College of Arts presented their fairy tale computer games produced especially for Fantoche.   Festival goers could play the delightfully interactive fairy tale game that guaranteed no pre-programmed happy endings.

I also had the opportunity to watch new inter-active animation and small-scale computer games put together by students majoring in Game Design at the Zurich Collage of the Arts and the Animation Department of Lucerne University of Applied Arts and Sciences.  Their  experimental workshop,” In Between Animation and Game Design”, explored the interfacing of animation and game design.  There were also lectures and panel discussions on the many different relationships between gaming and animation.  Every time I went into the area set aside for the gaming seminar, there was a buzz of activity.

The festival provided a great central meeting place with the outdoor café/bar where you could always meet up with friends.  Late at night the action moved upstairs to the festival bar.  On three separate evenings, stories came to life as pairs of animators drew on overhead projectors to illustrate their interpretations as tales of the fantastic, erotic, and eerie were read aloud by master story tellers.  After the stories, the bar turned into a disco and different DJ’s, including Croatia’s Daniel Suljic provided dance music to keep us all warmed up as the nights cooled down.

Drawing to live story telling
Drawing to live story telling
Upstairs at the festival bar
Upstairs at the festival bar

The most fun event of the festival was the traditional Festival Staff vs Guests Football (Soccer) Game.  I was surprised to see animators that I have known for years and never had a hint that they were so athletic and experts at the game.  Otto Alder, co-founder of Fantoche, professor and co-director of the animation department, Lucerne School of Art and Design and brilliant animator, was a star on the field.  Fernando Galrito, director of MONSTRA Animation Festival in Lisbon could also really move quickly.  Nik had never played football before in his life but he took to the game immediately even fielding one shot with his head.  He charged around the field with his little red trumpet in his hand, blowing charges to spur the visiting team on.

Nik playing trumpet football
Nik playing trumpet football

Last year the festival staff suffered a bad defeat at the feet of the visitors but this year they got their pound of flesh by beating the visiting team.  The game ended with champagne and snacks all around.

Thomas Meyer-Herman and juror/footballer Michaela Pavlatova cheer on the visiting team
Thomas Meyer-Herman and juror/footballer Michaela Pavlatova cheer on the visiting team
Nancy and Thomas Meyer-Herman watching the game
Nancy and Thomas Meyer-Herman watching the game

Opening and closing receptions were held in the in the galleria of the main cinema with hors d’oeuvres, drinks and good conversation.  On opening night, welcomes were extended by Stephan Attiger, Mayor of Baden and Hans Ulrich Glarner, Head of the Canton Aargau Cultural Department, as well as members of the festival staff and organizers.  A public screening of Fantastic Mr. Fox followed the opening, but some festival guests, having seen it previously at festivals, retired to the festival center where drinks and a festive dinner awaited us.

At the closing night ceremony I was delighted by the handmade green cloth awards that were presented to the winners.  Each one was totally unique and certainly deserves pride of place in any home or studio.  This year the International Jury selected a winner in a new category called “High Risk”  for the film which “ attaches greater significance to innovative film production”.  The premier award was given to Andreas Hykade for Love & Theft .  Andreas told me that he was extremely happy to be honored for a film that the jury said “assumed a simplicity of form – without compromise”.

A complete list of all winning films,  the juries, and their comments are at the end of the article.  As we all celebrated the winning animators and the end of a wonderful festival with a feast under the festival tent, the heavens opened and torrential rains poured down.  Inside the dining tent Nik, Rolf Bächler and Daniel Suljic broke out their instruments and played music to dine, dance and just enjoy listening to.  Later in the evening, the party continued, with dancing into the wee hours of the night in the upstairs bar. It was sad to say goodbye to friends old and new; my time at Fantoche contains so many lovely memories that I won’t soon forget my wonderful week at this fantastic festival.

Daniel Suljic, Rolf Bachler and Nik playing on closing night
Daniel Suljic, Rolf Bachler and Nik playing on closing night

Duscha Kistler, Artistic Director of the festival, and her amazing, hardworking staff not only put together a wonderful selection of films but also did everything possible to extend gracious hospitality to is all.  It’s not easy to run a festival but the FANTOCHE crew actually looked like they were having as much fun as their guests were.

Nancy with Fantoche Artistic Director Duscha Kistler at the opening night cocktail party
Nancy with Fantoche Artistic Director Duscha Kistler at the opening night cocktail party

Nik and I were not leaving until Monday evening so the next day I took the opportunity to explore the charming town while Nik went to soak his football sore body in the baths.  In the afternoon, a very dear Swiss friend who lives in Bern met us, and we took the bus up the mountain outside of town to the beautiful Restaurant Baldegg.  Nestled in a perfect mountain setting we were high enough up to see the Alps in the distance.  With a delicious meal, good conversation with an old friend and the perfect setting, time flew by and all too soon it was time to go back down the mountain to catch the night train to Amsterdam for the KLIK Animation Festival.

Our adventures in Amsterdam will follow soon.

INTERNATIONAL COMPETITION  JURY

Hervé de Crecy – France

Tatsutoshi Gon Nomura – Japan

Ursrla Palla – Switzerland

Michaela Pavlatova – Czech Republic

Adam Pugh – Great Britian

Introduction:  We were pleased with the selection of the films, which we felt showcased a good cross-section of contemporary animation.  Whilst it wasn’t easy to make a decision, this was symptomatic less of our indecisiveness as a jury and more to the through that the festival team has taken with their programming.

BEST FILM -  In A Pigs Eye­ – Atsushi Wada – Japan

For its rigor, restraint and innate sense of the absurd in creating a world of obsession, repetition and ritual which revels in ambiguity yet retains its own internal logic.

HIGH RISK – Love & Theft – Andreas Hykade – Germany

For assuming a simplicity of form – without compromise, for building its own narrative via a hypnotic powerful visual and musical experience.

BEST STORY – Divers In The Rain – Olga Parn & Priit Parn – Estonia

For it’s complex story which in an original way combines reality with imagination, dreams with daily routine and humor with critical observation of society.

BEST SOUND – Divers In the Rain – Olga Parn & Priit Parn – Etonia

The jury is convinced about the rich and complex sound composition of this film.  The sound of falling rain accompanies as a basic rythum through the parallel worlds of the woman and the man and developes to a leading part of the animation.

BEST VISUAL – Get Real – Evert de Beijer – Netherlands

At first you might think that the color of this film is lurid or gaudy, but the mix between the computer graphics and drawing creates its original style.  It clearly shows the difference between the real and imaginary world, and how the boy is so addicted to playing games.

NEW TALENT – Kuchao – Masaki Okuda – Japan

The animation develops with Japanese old rhythm.  Water colored animation moves brilliantly.  We sympathized with the warm handmade touch.

AUDIENCE AWARD  -  Sinna Man (Angry Man) – Anita Killi – Norway

SWISS FILM COMPETITION JURY

Marc Bertrand – Canada

Andreas Hykade – Germany

Vjera Matkovic – Croatia

BEST SWISS FILM – Miramare – Michaela Muller

HIGH RISK SWISS FILM – Cronache Marxiane – Laura Solari

SPECIAL MENTION 1 – Schlaf – Claudius Gentinetta & Frank Braun

SPECIAL MENTION 2 – Der kleinere Raum (The Smaller Room) – Cristobal Leon & Nina Wehrie

AUDIENCE AWARD – Heimatland – Andrea Schneider, Loretta Arnold, Marius Portmann, & Fabio Friedli

BEST CHILDRENS FILM (Selected by Childrens Jury) – Der prazise Peter (Percise Peter) – Martin Schmidt - Germany

AUDIENCE AWARD – Der prazise Peter (Precise Peter) – Martin Schmidt - Germany



THE “MOVING PAINTING” OF GITTE LE BRUYN
Saturday October 02nd 2010, 9:29 am
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I discovered a young Belgian animator this week quite by accident via a music video that a friend sent me.  Gitte Le Bruyn graduated from the Academy of Fine Arts in Antwerp in 2008.  For one of her exhibitions she worked with the music of Brussels singer/songwriter Tino Biddeloo (aka Silver Junkie).  For the new music video Maria from Biddeloo’s debut full length CD, Streets and Boulevards, Gitte’s inspiration for the animation is based on the song.

I am always fascinated by animation created by painting on glass.  For one thing the animator has to have great confidence in their vision.  Since the glass is wiped clean after each shot there is no chance to go back.  Utilizing simple black ink and glass Le Bruyn has created haunting images that compliment the song rather than detract from it.

The young animator says that she is “fascinated by moving painting”.  In 2005 she was awarded the Prijis Frans Dille Award, a Belgian based competition held once every three years for students. Maria is the first of her animations that I have seen I am looking forward to seeing more work from her in the future.

You can check out the video at:  http://www.youtube.com/fiftydollarband

After you watch the video check out the rest of Silver Junkie’s music also at:

http://www.silverjunkie.be/Paginagifs/SJPressRel_ENG.pdf



DARCY PRENDERGAST’S “LUCKY” SHORT LISTED FOR GUGGENHEIN MUSEUM EXHIBITION
Friday October 01st 2010, 9:17 am
Filed under: Films, Profiles
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Australian animator Darcy Prendergast’s music video Lucky has been short listed for an opportunity to screen at the world famous Guggenhein Museum in New York City as part of a new exhibition run in conjunction with YouTube.

Whittled down from 23,000 entries, Lucky is among the 125 films in the running for a spot in the new exhibition.  Already earning 380,000 on-line hits, Darcy’s animated piece was produced in collaboration with the Melbourne band “All India Radio”.

Lucky was created using a long exposure technique where Prendergast and his team drew in the sky with glow sticks or colored torches, similar to writing your name in the sky with sparklers.  One 25 second exposure gives you one image.  The process was repeated hundreds of times to form a sequence.

Lucky has already won awards worldwide.  At home In Australia the film won best animated video at St. Kilda Film Festival and three separate nominations at the ATOM awards.

Until this  film Darcy has been working in claymation.  I have been watching his work ever since his name caught my eye in the credits for Mary & Max and with this move into a totally different he has proved that he is not only a talented young animator but very versatile as well.

If you haven’t had the pleasure of seeing Lucky on the big screen you can watch it at:

www.youtube.com/darcyprendergast

You can contact Darcy at:

darcy.prendergast@gmail.com



18TH INTERNATIONAL TRICKFILM FESTIVAL - STUTTGART, GERMANY SUBMISSION DEADLINES
Friday October 01st 2010, 9:11 am
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I just received this information from our friends at the Trickfilm Festival in Stuttgart:

The TRICKFILM FESTIVAL in Stuttgart has become the biggest and most important animation festival in Germany.  This year it will take place May 3 through the 8th, with cash awards for the International Competition, Young  Animation, Tricks For Kids, AniMovie and Under Commission.

Their call for animation is below.

DECEMBER 1, 2010 - Closing Date For the International Competition, Young Animation , Tricks For Kids, and AniMovie.

JANUARY 15, 2011 - Closing Date for Under Commission Films.

All registration forms and preview DVD’s must be presented to Medienfestival  gGmbH by the closing date.

Application forms can be downloaded at www.itfs.de

You can contact the festival at:

Film – und Medienfestival gGmbH

SchlossstraBe 84     70176 Stuttgart, Germany

Tel: +49(0) 711-925 46-0         Fax: +49(0) 711 925 46-150

e-mail: itfs@festival-gmbh.de

Web Site:  www.itfs.de