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Tuesday, April 8 @ Angelika

By Laura Seewoester
DIFF Writer


Director Gavin Robinson takes a look a two charming characters, a chance meeting, and greener pastures in his animated short, Hart’s Desire. The film resonates with audiences because at the heart of the story is the tug-of-war many feel about the benefits city life vs the benefits found in nature.

hart'sdesireHART’S DESIRE
“The story and characters themselves developed from this contrast of environments and became a reflection of my own uncertainties about the merits of society vs. sanctuary,” Robinson says of the film. “The potentially cyclical nature of the film highlights the fact that I still don’t know which is best.” This potential cycle almost begs the question: When you finally manage to escape the hustle and bustle of the city, how long does it take before you start to miss it, and vice versa?


Sam Chou and Alix Lambert married two formats that aren’t typically put together—— documentary and animation——in the animated series CRIME. “In North America, animation has a stigma as being ‘for kids,’” Chou said. “I don’t like that, so I continually take on more projects that have a darker, grittier side.” The film consists of animations set to interviews (out of Alix Lambert’s book Crime) with people involved in or connected to crime in some way. Despite being an animation, the film retains the documentary feel and is definitely not in the kiddie category. While each story had slightly different animation styles, this was a specific choice on the part of Chou and Lambert. “The stories were so different and had such different moods, some stories were scary, some were exciting, some were funny,” said Chou. “We thought the visuals should reflect that.”




Director Carlos Gomez Salamanca takes an abstract approach to storytelling in FLESH (CARNE). The film was a project of 31 animated sequences from real footage of an animal sacrifice in a country celebration in Colombia. The animation reconstruction was done frame by frame. Salamanca used several different styles of animation, ranging from almost photographic realism to completely abstract, creating a film where entertainment meets high art.


Sam Taylor worked with several artists to create EVERYTHING I CAN SEE FROM HERE, an animated film set in a bleak, industrial world that touches on both realism and escapism as an uninvited, sinister guest joins a game of soccer with the two main characters. While most animated shorts are done either by one person or a small team, Taylor worked with over 30 artists on this film. “The logistics in having that many people working remotely was a massive challenge,” Taylor said. “Especially as we did a lot of the production ourselves.” The most amazing part of this animated short is how cohesive the film is given that so many different artists had their hands in creating it.




Bernardo Britto is back on the festival circuit, this year with his animated short, Yearbook. Yearbook introduces us to a somewhat serious but likeable man who is hired to compile a history of important people before the world is set to blow up. “When I started getting ready to make it I kind of came across the realization that it didn’t really matter what I made, it wasn’t gonna have any sort of lasting effect on the world; it seemed like everything was going to be forgotten at some point,” Britto said. “I thought if I was going to make a movie that eventually no one would remember at least I’m gonna make it about how we’ll all be forgotten.” Just as the main character had to select who would be remembered, in a way Britto was slated with the same task by mentioning who would end up in this fictional memory of humanity, in a weird way creating yet another example of art imitating life imitating art.


In The Missing Scarf, Eoin Duffy introduces us to Albert, a squirrel with a trivial problem and a quest to solve it. He ends up unearthing problems far beyond his own in the process. This lightly humored comedy with a dark twist operates as a commentary on the begrudged “first world problems” that most of us are guilty of. The lighthearted animation and narration provides a vehement contrast to Albert’s ultimate problem. Albert’s twist of fate serves as a reminder to the audience that our every day fears are not always as dramatic as they seem.


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With 175 films and an Oscar to his credit, John Wayne is considered by many to be not only a great actor, but the American archetype.

Cheryl Boone Isaacs is the first African-American President of the Academy of Motion Picture Arts and Sciences and only the third woman to hold the office.

John Kricfalusi, the creator of Ren & Stimpy, is the recipient of the 2014 Texas Avery Animation Award presented by REEL FX.



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