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Director: Phil Mulloy
Release Date: 1996
Rating: ★★★
Review:

Based on the reminiscences of violinist and composer Alex Balanescu ‘The Wind of Changes’ is one of Phil Mulloy’s longest and most poetical films.

Balanescu’s portrait of communist Romania is a dark one, but his impressions of New York and London are hardly any better. Balanescu’s remarks are wry and depressing, and Mulloy illustrates these with associative and sombre pictures in his typical crude cut-out animation style.

The film jumps forward and back into time and has a stream-of-consciousness-like feel. Some of the images are very powerful, like a snowman being shot. But it’s Balanescu’s score that despite Mulloy’s powerful imagery, is the most beautiful aspect of the film. Unfortunately, Balanescu’s music almost drowns out the voice-over, making the narrative hard to follow.

Watch the first part of ‘The Wind of Changes’ yourself and tell me what you think:

‘The Wind of Changes’ is available on the DVD ‘Phil Mulloy Extreme Animation’

Director: Jan Švankmajer
Release Date: August 1996
Rating: ★★★½
Review:

Although the move from animation to live action clearly was a gradual one (after all, ‘Alice‘ contained quite a bit of live action, while ‘Faust‘ was a live action film augmented with puppetry and animation), ‘Spiklenci slasti’ (Conspirators of Pleasure) can be regarded Jan Švankmajer’s first non-animated film, even if it stills contains a few bits of stop-motion and pixilation.

The change of technique doesn’t mean a change of style, however. The film is 100% Švankmajer throughout, with its complete lack of dialogue, its sound design (which is very reminiscent of that of animated films, indeed, with its emphatic sounds – we even hear the nonexistent sound of blinking of eyes), its idiosyncratic use of music (each individual has his/her own accompanying piece of music), its extreme close-ups, its sets of old buildings in a state of decay, and of course, a high dose of surrealism.

‘Spiklenci slasti (Conspirators of Pleasure)’ is an erotic film without sex. The titles are shown on a background of 18th century pornography, but the movie itself contains very little nudity, which is male only.

Main protagonist of the film is an unnamed bearded bachelor (played by Petr Meissel and identified as Mr. Pivoňka by Švankmajer). The film starts with him buying a sex magazine, but soon the magazine makes way for far more disturbing and puzzling acts of pleasure, involving a cupboard and a chicken. Mr. Pivoňka’s antics are interlaced with that of a postwoman, a mustached man, his lonely and abandoned wife, who’s a newsreader (Anna Wetlinská, who really was a newsreader), and the shop owner from the first scene, who’s secretly in love with Anna Wetlinská, and who builds an elaborate contraption around the television set she appears on.

The first 45 minutes are one big build-up to the pleasure acts themselves, and this is the most satisfying part of the film, because Švankmajer keeps the viewer puzzled where all the efforts of these people go to. Unfortunately, the acts of pleasure themselves are less compelling, as they’re not necessarily perverse as well as weird, and maybe this section is a bit overlong.

The shopkeeper’s machine is the absolute highlight, but the postwoman’s actions are absolutely grotesque, and that of Mr. Pivoňka and his neighbor, Mrs. Loubalová, sadomachistic, very violent and even morbid. Their acts involve the most animation, as their acts involve animated stuff dolls coming to life. But by now one could argue that the animation is more of a special effect than an element of style, although the pixilation still is used as a mean of surrealist story telling.

As the film comes to a finale, the boundary between reality and fantasy gets crossed. Anna Wetlinská seemingly takes over the shopkeeper’s machine, and comes to a climax herself. In the end the people’s fetishes get mixed, while Mr. Pivoňka’s mysterious ritual appears to have severe real life consequences indeed…

Nevertheless, one would like to know more about the postwoman and her incomprehensible rituals, as she seems to be some kind of facilitator of the desires of others. Also Anna Wetlinská’s bad marriage deserved a little bit more attention.

‘Conspirators of Pleasure’ is a very original and entertaining movie, but the film remains on the shallow side and lacks the layered surrealism of ‘Alice’ or ‘Faust’.

Watch the trailer for ‘Conspirators of Pleasure’ yourself and tell me what you think:

‘Conspirators of Pleasure’ is available on Blu-Ray and DVD

Director: Steve Box
Release Date: November 9, 1997
Rating: ★★
Review:

‘Steve Box had joined Aardman in 1992 and was one of the animators on ‘The Wrong Trousers‘ (1993) and ‘A Close Shave‘ (1996).

‘Stage Fright’, his own short, is a short melodrama about a shy ‘dog juggler’ who is bullied by a mean silent cinema actor. The film uses designs reminiscent of the Wallace and Gromit films, excellent stop motion animation, and some atmospheric lighting, but it immediately becomes clear that Steve Box is no Nick Park.

Box’s way of non-linear story telling is confusing and heavy-handed. Because they’re not introduced properly we don’t care about the characters one bit. Worse, throughout the film the relationship between the three characters remains sketchy and trite. Add way too much dialogue, and the result is as disappointing as it is boring. The only interesting part is Box’s emulation of silent cinema using his clay characters.

Watch ‘Stage Fright’ yourself and tell me what you think:

‘Stage Fright’ is available on the DVD ‘Aardman Classics’

Director: Sam Fell
Release Date: 1996
Rating: ★
Review:

While Aardman produced masterpieces of stop motion like ‘The Wrong Trousers‘ (1993) and ‘A Close Shave‘ (1996), the studio also funded much smaller works by independent artists at their studio.

‘Pop’ is one of those. In this short a young man opens a can of soda, which makes his head explode. His goldfish (which has the same face as the young man) replaces him.

‘Pop’ makes no sense whatsoever, and is as ugly as it is unfunny. It feels like an amateurish student project and it probably wouldn’t have been on DVD if it were not an Aardman production. Unfortunately, it may have been the worst, but certainly not the only mediocre product by Aardman of the time , for subsequent films from the nineties like ‘Stage Fright, ‘Owzat‘, ‘Al Dente‘ and ‘Minotaur & Little Nerkin‘ are all very weak. The only exception is the hilarious ‘Humdrum’ from 1998.

Watch ‘Pop’ yourself and tell me what you think:

‘Pop’ is available on the DVD ‘Aardman Classics’

Director: Peter Lord
Release Date: April 10, 1996
Rating: ★★
Review:

Aardman founder Peter Lord penned and directed this medieval story for children about two royal twin brothers who get separated. One remains royal, the other becomes an ordinary peasant. But when their country is threatened by an enemy, the tables are turned, or not?

This film features silent comedy, with very little dialogue (only ‘me?’ and ‘hello?’ are uttered). More interesting is the returning use of a split screen. The animation and sets are both of a high quality, but Lord’s story is as rambling as it is boring, and completely fails to fulfil its promise. The film ends rather sudden and inconclusive, leaving us with Andy Price’s attractive quasi-medieval music. In fact, I’m surprised the film even got an Academy Award nomination.

Watch ‘Wat’s Pig’ yourself and tell me what you think:

‘Wat’s Pig’ is available on the DVD ‘Aardman Classics’

Director: Peter Peake
Release Date: January 7, 1995
Rating: ★★½
Review:

‘Pib and Pog’ starts off as a typical cartoon for preschoolers. It stars two clay characters wearing shoes with flowers on them in a white set with only two props.

The two only make unintelligible sounds, but interact with the voice over (Ionna Wake), who retains an upbeat preschool attitude until the very end of the cartoon. But her remarks get more and more at odds with the visuals. For when Pib craves a shell that Pog apparently has found on the beach, a startlingly violent struggle between the two characters evolves, including the use of a gun, chloric acid and a cannon.

Meanwhile the voice over keeps on blabbering in a childish manner, neglecting the violence on the screen for what it is. ‘Pib & Pog’ thus is disturbing, and it seems to say something about cartoon violence in general, but funny it is not, and the short is further hampered by its very trite ending. Nevertheless, in 2006 the film would sprout five sequels. Earlier, in 1998 director Peter Peake would make a much better and certainly hilarious little film called ‘Humdrum’, which is much more recommended.

Watch ‘Pib and Pog’ yourself and tell me what you think:

‘Pib and Pog’ is available on the DVD ‘Aardman Classics’

Director: Tyron Montgomery
Release Date: April 1996
Rating: ★★½
Review:

A sand man lies in the desert with his water bottle, empty. When he hears the sound of water he starts digging and before soon falls into another world…

Made by Tyron Montgomery (direction, photography & screenplay) and Thomas Stellmach (production, animation & story) at the University of Kassel, Germany, ‘Quest’ is a gloomy stop-motion film, depicting worlds of sand, paper, stone and metal. Especially the metal world is well-done, both frightening and fascinating.

There are some comic elements in the acting of the sand man, but the film is neither as funny nor as disturbing as it could be. Part of the problem is the mediocre acting: the sand man’s feelings and thoughts are acted out schematically, more like Fritz the Cat than like post-Disney character animation.

‘Quest’ certainly is interesting, and a very accomplished film for a student film, but in the end Montgomery’s and Stellmach’s tale is too shallow to become a real classic. But that’s only my opinion, because this German short won many prizes, including the Academy Award for best animated short in 1997.

Watch ‘Quest’ yourself and tell me what you think:

‘Quest’ is available on the The Animation Show of Shows Box Set 5

Directors: Max Lang & Jan Lachauer
Release Date:
December 25, 2012
Rating:
 ★★★½
Review:

One of the most interesting series to emerge in the 21st century were the BBC half hour specials based on children’s books by Julia Donaldson and Axel Scheffler. This series was produced by Magic Light Pictures and mostly animated by Studio Soi in Germany.

Starting with the extraordinarily succesful ‘The Gruffalo’ (2009) these films prove not only to be very faithful to the source material, but to bring an unsurpassed plasticity to the computer animation, giving the characters the solidity of stop-motion. This is partly done by the animation itself, which practically never goes beyond what’s possible with stop motion puppets (for example there’s practically no squashing and stretching), and partly by giving them a clay-like texture.

But the makers’ secret ingredient is their use of real sets, thus placing the computer-created characters in fitting stop-motion worlds. This is so well-done you keep on wondering whether what you see is stop-motion or computer animated. This unique blend gives the film their specific and utterly charming character.

‘Room on the Broom’, the third entry in the series, is an excellent example. The story tells about a friendly witch who flies on a broom with her cat, but at times she drops something on the ground. This is then found by an animal who asks for a place on the broom. The repetition and rhyme no doubt work excellently for small children, but elder viewers will delight in the cat’s wordless reactions to his mistress’s enthusiastic invitations. His body language and facial expressions form the pinnacle of pantomime animation, but there are touches of wordless comedy on all the characters.In the end a ‘Town Musicians of Bremen’-like story twitch is introduced.

Even if ‘Room on the Broom’ isn’t the undisputed classic ‘The Gruffalo’ certainly is, it’s still a delightful film, able to enchant both the young and old alike.

Watch the trailer for ‘Room on the Broom’ yourself and tell me what you think:

‘Room on the Broom’ is avalaible on DVD

Director: Michel Ocelot
Release Date:
October 3, 2012
Rating:
 ★★½
Review:

‘Kirikou et les hommes et les femmes’ is the third movie about Kirikou, the brave little infant who lives in some West-African village and who battles the evil witch Karaba.

Like the second movie, ‘Kirikou et les bêtes sauvages’ (2005), but unlike the first movie, the feature consists of five stories, all lasting ca. a quarter of an hour. These stories clearly assume that one is already familiar with the main story, as told in the masterful ‘Kirikou et la Sorcière’ from 1998. They are told by Kirikou’s grandfather, and all take place in Kirikou’s little village or its direct surroundings.

The first story is mainly comical and tells about Kirikou’s mother taking in the stout woman, who’s rather ungrateful, and snores, too. In the second story the old man of the village has disappeared and Kirikou tricks Karaba’s all-seeing fetish on the roof to look for him. The third and fourth story make unwelcome and rather unconvincing leaves from the fairy tale setting of Kirikou’s first film, and suddenly place Kirikou’s village in the real world.

The third story is an all too obvious tale about racism and acceptance, while the fourth is a homage to the art of storytelling. The main problem with this episode is that storytelling itself is rather unfit for cinema, and thus this episode only makes the viewer long for an encounter with a real griot telling you the story of Sundiata Keita, the founder of the Mali empire. The fifth and last story is one about the power of music, in which Kirikou and his friends learn to play some instruments. In this episode Kirikou’s mother turns out to be an excellent flute player meeting gender inequality, as she’s not allowed to play because she is a woman.

All these stories end with the village rejoicing and dancing to the same melody, celebrating Kirikou’s cleverness. Unfortunately, none of these stories is very engaging and certainly not one of these stories comes near the narrative power of ‘Kirikou et la Sorcière’. Much more, by placing Kirikou’s village into the real world, the setting loses a lot of its magic, and in fact it makes Karaba’s presence suddenly absurd. In the end, the film feels superfluous and unnecessary, even unwelcome, spoiling the enchantment of the first film.

What certainly doesn’t help is the switch from traditional animation to 3D computer animation. The film uses a quite unique way of placing 2D designs on 3D characters (a very similar method was developed independently for ‘Couleur de peau: miel’). And, indeed, the makers have succeeded in keeping the ligne claire of the original designs, but nevertheless the 3D animation feels rather poor and remarkably stiff, never coming near the charm of the original hand drawn animation.

Much better than either the animation or the stories themselves are Ocelot’s hand-painted backgrounds, which retain the strange atmosphere of ‘Kirikou et la Sorcière’. Thibault Agyeman’s score is also a delight and makes clever use of traditional African instruments like the kora and balafon.

‘Kirikou et les hommes et les femmes’ is not a bad film, the stories themselves are told well enough. But let’s face it: this is a sequel that adds nothing to the first film and doesn’t do it any service by its unnecessary expansion and unwelcome added realism.

Watch the trailer for ‘Kirikou et les hommes et les femmes’ yourself and tell me what you think:

‘Kirikou et les hommes et les femmes’ is available on DVD with English subtitles

Director: Julia Gromskaya
Release Date:
2012
Rating:
 ★★★½
Review:

‘Fiumana’ shows that Georges Schwizgebel’s particular way of animating has made school. Julia Gromskaya adapts Schwizgebel’s painting techniques and constantly shifting perspective to tell a tale of a woman waiting for her man, while drowning in her memories.

Gromskaya’s film is much more stream-of-consciouslike than Schwizgebel’s films, however, and has strong surrealist overtones, with some original metamorphosis going on while the images flow into each other. For example, at one point the woman’s eyes change into boats on a river, which in turn changes into the smoke of the man’s pipe.

Gromskaya’s painting style, too, differs from Schwizgebel’s, and is much more fauvist and naive. Her flow of images is supported by a gentle chamber music score by Francesca Badalini. The result is a puzzling yet beautiful film that is over before you know it.

Watch ‘Fiumana’ yourself and tell me what you think:

‘Fiumana’ is available on the DVD-box ‘The Animation Show of Shows Box Set 7’

Director: Natalia Chernysheva
Release Date:
September 2012
Rating:
 ★★★★
Review:

In ‘Snowflake’ a little boy in Africa gets a paper-cut snowflake by mail. That night he dreams his surroundings are covered with snow, making all animals shiver.

This is a charming little film done in a quasi-naive style, and making good use of black and whites, with occasional flashes of color. Especially the scenes in which the boy explores the snow-covered world are beautiful, with his red coat, shawl, hood and mittens standing out against the blacks, whites and greys of the animals and their surroundings. Also noteworthy is Chernysheva’s excellent timing, and the sound design, which is spot on.

Watch ‘Snowflake’ yourself and tell me what you think:

‘Snowflake’ is available on the Belgian DVD ‘Haas & Hert en andere verhaaltjes’

Director: Anna Kadykova
Release Date:
September 2012
Rating:
 ★★★½
Review:

A little mole, living in a grey, polluted city discovers images of the sea in an abandoned magazine. He longs to go there, and travels, like moles do, underground to go there. Unfortunately, the beach is as crowded as the city was.

‘The Mole at the Sea’ (also known as ‘Moe Goes to the Beach’) is a charming little film, with lots of little jokes, many of which are slightly on the surreal side. Kadykova’s style is instantly likable, and her timing excellent. Especially the scenes of the over-crowded beach are nice to watch.

Watch ‘The Mole at the Sea’ yourself and tell me what you think:

‘The Mole at the Sea’ is available on the Belgian DVD ‘Haas & Hert en andere verhaaltjes’

Director: Joel Simon
Release Date:
July 5, 2012
Rating:
 ★★★★
Review:

‘Macropolis’ was commissioned by the ‘Unlimited Programme’, part of the London 2012 Cultural Olympiad, and dedicated to deaf and disabled arts and culture.

The short stars a toy cat, who’s rejected from the factory because he’s only got one eye. He teams up with a little toy dog with only one leg. The cat gives the dog a leg prosthesis, the dog gives the cat an eye patch and together they try to catch the truck which delivers all the other toys to the toy store.

‘Macropolis’ is a gentle little film which succeeds in moving the audience without any dialogue. The stop motion is mixed with pixillation and live action, and filmed partly outdoors. A nice touch is that the film makers don’t hide the fact that stop motion takes a lot of time, and the background is buzzing with movement as the two little animals wander the streets.

Watch ‘Macropolis’ yourself and tell me what you think:

‘Macropolis’ is available on the Belgian DVD ‘Haas & Hert en andere verhaaltjes’

Director: Pascale Hecquet
Release Date:
June 9, 2012
Rating:
 ★★
Review:

‘Duo de Volailles, Sauce Chasseur’ is a short comedy film in which a white and a black chicken are threatened by a fox in their own home.

The film is is black and white itself and tries to play with the idea that the white chicken is invisible in light and the black chicken invisible in the dark. Thus the film features a lot of on and off switching of lights.

Unfortunately, the film never succeeds in getting funny. Hecquet’s facial designs on the fox are more trite than funny, and his timing is sloppy. It certainly doesn’t help that at one point the two chickens start dancing a tango. How this deludes the fox is beyond me, because both thus remain visible to the fox throughout. Hecquet’s use of split screen is a rather petty try to make the action more exciting than it really is. The end result is a disappointingly tiresome film that never lives up to its clever premise.

Watch ‘Duo de Volailles, Sauce Chasseur’ yourself and tell me what you think:

‘Duo de Volailles, Sauce Chasseur’ is available on the Belgian DVD ‘Haas & Hert en andere verhaaltjes’

Director: Lena von Döhren
Release Date:
February 14, 2012
Rating:
 ★★★½
Review:

‘Der kleine Vogel und das Blatt’ is a charming little film starring a small bird caring for a single leaf.

When the leaf falls off, the little bird tries to retrieve it, while being chased by a hungry fox. The film uses no dialogue, but simple, attractive designs, and excellent timing. Animated in 2D in the computer, the film makes great use of its winter setting.

Watch ‘Der kleine Vogel und das Blatt’ yourself and tell me what you think:

‘Der kleine Vogel und das Blatt’ is available on the Belgian DVD ‘Haas & Hert en andere verhaaltjes’

Directors: Stephan Schesch & Sarah Clara Weber
Release Date:
June 8, 2012
Rating:
 ★★★½
Review:

Germany is the biggest economy of Europe, but as producer of animation it’s a surprisingly minor player, especially when compared to France. It certainly didn’t help that the Nazi regime virtually wiped out all art life, and that from 1949 until 1991 the country was split into two.

When I think of post-war German animation I immediately think of Die Maus (The Mouse), the silent host of the educational children program ‘Die Sendung mit der Maus’, and of die Mainzelmännchen, the six little guys who embellish advertising blocks on German television since 1963. Germany also boasts some major independent animation artists, like Raimond Krumme, Andreas Hykade and Gil Alkabetz, but otherwise the country produces mostly rather listless feature films which make no impression whatsoever.

So it came as a surprise to me to find in a department store in Berlin an animated film based on a children’s book by Tomi Ungerer, one of the greatest children’s book artists in the world. Even more surprisingly, this is not the first German feature film based on his work. In 2007 Animation X Gesellschaft zur Produktion von Animationsfilmen mbH released a film based on Ungerer’s classic ‘Die drei Räuber’ (The Three Robbers) from 1961. I certainly wish to see that film, too, because ‘Der Mondmann’ is a pleasant surprise.

This feature film is much more elaborate than Ungerer’s original children’s book from 1966 (which Gene Deitch already turned into an animated short in 1981), but the character designs of the moon man and the children are very faithful to Ungerer’s artwork. Even better, Ungerer himself appears as the narrator of the tale (although his voice over is hardly used in the film). The adult characters, however, are more removed from Ungerer’s style, as is the extraordinarily colorful background art, which has a trace of surrealism to it. The looks of the film are on the verge of independent animation, but remain friendly and inviting nonetheless.

The story tells about the moon man, who occupies the complete sphere of the moon, and who is bored to death inside this cramped space. One day he grabs the tail of a fiery comet and descends to earth, hoping for some excitement. The shots of the moon man discovering animals and plants are particularly delightful. Earth, meanwhile, has apparently been occupied by a rather fascist looking regime (a great take is that its flag features a flag). The world president mourns he has conquered the complete world, and has nothing left to conquer, until some lady suggests to conquer the moon. Apparently, in this parallel universe space travel has not been invented, yet, while for example cell phones have.

The world depicted thus is not entirely ours, and this adds to the atmosphere of surrealism, as do several odd side gags that enter the screen and which are completely unrelated to the story. This type of throwaway gags are reminiscent of ‘La planète sauvage’ (Fantastic Planet) from 1973, and indeed, ‘Der Mondmann’ has something in common with that strange film, even if it is much friendlier, and less bizarre. These gags keep the adult audience awake in a film that is otherwise clearly directed to children. There’s also a running gag of a military officer who keeps saying “höchst bedauerlich”(most regrettable) as answers to the president’s complaints.

Anyway, both the Moon Man and the president turn to an inventor called Bunsen van der Dunkel to bring them to the moon. The moon man all too quickly discovers that Earth is not an entirely welcome place, and he discovers his role in the lives of children, who cannot sleep without him watching over them. The central theme of the film is what it means to be friends, something both Bunsen van der Dunkel and the Moon Man discover during the film.

‘Der Mondmann’ is well-told, focusing on only a handful characters, but it is also one of those delightful non-American feature animation films completely throwing American story rules overboard. For example, the film stars a father and his daughter travelling inside an American 1950s cabriolet. The two return several times during the film, but are only marginally involved in the plot. Despite being a children’s film there’s also a clear suggestion of a sex scene. The music choice, too, is pretty idiosyncratic, with important roles for the songs ‘Moon River’ sung by Louis Armstrong and ‘In-A-Gadda-Da-Vida’ by Iron Butterfly.

In all, ‘Der Mondmann’ is arguably the greatest animated feature film to come from Germany in the 2010s and well worth a watch, especially because it is available with English subtitles.

‘Der Mondmann’ is available on Blu-Ray and DVD

Directors: Laurent Boileau & Jung
Release Date:
June 4, 2012
Rating:
 ★★★
Review:

One of the striking developments of the 21st century was the advent of the animated documentary. Of course, the genre is much, much older, arguably going back to Winsor McCay’s ‘The Sinking of the “Lusitania“’ (1918), but the animated documentary film remained a scarcity throughout the 20th century, and never went beyond the length of shorts.

All that changed with the highly influential Israeli film ‘Waltz with Bashir’ (2008), arguably the very first feature length animated documentary. Subsequent films of this type often told personal stories, if not only told with, then at least augmented with animation, e.g. ‘Tatsumi’ (2011), ‘Kurt Cobain: Montage of Heck’ (2015, with added animation by Hisko Hulsing) or ‘Tower’ (2016).

‘Couleur de peau: miel’ is such a personal story. The film is based on an autobiographical graphic novel by Belgian author Jung, who is of Korean descent, and who was adopted at a young age. His story is told with an all too prominent voice over, and in live action, depicting the present Jung, now 44 years old, visiting Korea, with the use of 8mm films shot by his father in the 1970s, and with computer animation, depicting several of Jung’s childhood memories.

The film succeeds in showing the troubled existence of adopted children, and their struggling with their identity. Jung, for example, doesn’t feel entirely part of the family, and indeed, his parents sometimes snap that they see him differently from their own natural children. Worse, he feels uprooted, feeling neither completely Belgian nor Korean, and feeling alienated from both. This leads to a troubled youth, with Jung being far from a good boy. This unfortunately makes it rather more difficult to identify with him, for he often acts as a real jerk, being full of mischief, for example falsifying his school report.

The French title literally translates as ‘Skin Color: Honey’, and the animated sequences certainly use yellows, together with browns and grays as their principal coloring. Jung also has some dire memories of his early Korean days, which are rendered in more depressing grays than the Belgian sequences. These colors dominate the beautiful, two-dimensional background art.

For the animation the film makers have resorted to 3D computer animation, because it was cheaper. Unfortunately, it also looks cheaper, hampering an otherwise fine film. The characters are a strange hybrid of drawn images projected on three-dimensional models, and never become convincing characters. Instead, they look like wandering marionettes, uncannily devoid of life. In fact, the character animation is so ugly to look at that the emotions of Jung’s memories never really come off. I certainly wonder what a better film ‘Couleur de peau: miel’ could have been, if the film makers had made in traditional 2D animation… Now, we’re stuck with a film that certainly is interesting, but falls short in moving its audience.

Watch the trailer for ‘Couleur de peau: miel (Approved for Adoption)’ yourself and tell me what you think:

‘Couleur de peau: miel'(Approved for Adoption) is available on Blu-Ray and DVD

Director: Roman Klochkov
Release Date:
2012
Rating:
 ★
Review:

In ‘Natasha’ a huge Russian bear called Nicolaï lives in a fridge in a Zoo in Belgium as an illegal immigrant. One day another Russian bear called Gennady arrives, who turns out to be the new husband of Nicolaï’s former love, Natasha.

In ‘Natasha’ Klochkov apparently tries to say something about immigration, but his message is lost in a rambling story that leaves the viewer completely flat. In fact, there hardly is a story, but certainly a lot of dialogue. Klochkov’s cartoony style doesn’t help, either, although Nicolaï himself is wonderfully designed and animated, emphasizing his enormous size – Nicolaï literally doesn’t fit in. Also appealing are Klochkov’s bold ink strokes, which turn virtually abstract during the crowd scenes. But these don’t rescue a film, which is too unsure and too dialogue-rich to entertain, let alone move.

Watch ‘Natasha’ yourself and tell me what you think:

https://vimeo.com/108782575

‘Natasha’ is available on the DVD ‘Framed – De beste Vlaamse korte animatiefilms 2010-2015’

Director: Gert Driessen
Release Date:
October 3, 2012
Rating:
 ★★½
Review:

In this short animation film a man who has recently lost his wife, draws her with chalk on the wall. The chalk wife takes him into her chalk world full of memories.

‘Crayon d’amour’ is a gentle film, but hampered by rather ugly computer animation. The simple, cartoony character design doesn’t really match the 3D animation, nor the far more realistic settings. In fact, the traditional animation of the chalk scenes, not by director Gert Driessen himself, but by Florian de Hoes, Cederic Neven and Olivier vanden Busche, is far more impressive. One certainly wonders why not the whole film was made that way. Nevertheless, the 3D scenes have an attractive color design, consisting mostly of cardboard browns.

Watch ‘Crayon d’amour’ yourself and tell me what you think:

‘Crayon d’amour’ is available on the DVD ‘Framed – De beste Vlaamse korte animatiefilms 2010-2015’

Directors: Emma de Swaef & Marc James Roels
Release Date:
January 28, 2012
Rating:
 ★★★★½
Review:

One of the most striking animation films to come from Belgium in the 2010s was ‘Oh Willy…’ by Emma de Swaef and Marc James Roels. The film immediately catches attention with its soft puppets and sets – everything is fluffy and velvety, even a rotting carcass. But ‘Oh Willy’ also impresses with its poetic way of story telling.

‘Oh Willy…’ tells about a middle-aged man who returns to the naturalist colony of his youth to visit his dying mother. The man is lonely and withdrawn, and clearly unable to blend in with the naturalists, even if he wants to. One night he gets lost in the woods, which sets him to an all new adventure…

‘Oh Willy…’ uses no dialogue, but the soft puppets breath a lot of animation. Moreover, De Swaef and Roels know how to show, don’t tell, and they leave it to the viewer to connect the dots between the scenes. Interestingly, some of the scenes are pretty raw, even if they’re rendered in the fluffiest animation conceivable. From these scenes one can guess why the man feels so awkward and lost without his mother.

True, when summarized, the story of ‘Oh Willy…’ makes little sense, but as told by De Swaef amd Roels in their fluffy animation it absolutely accounts for a heart-warming experience. ‘Oh Willy…’ is one of those films showing the unique power of animation, and it certainly belongs to the best shorts of the 2010s. And yet, in 2018 the duo topped it with their 44 minute tour-de-force ‘Ce Magnifique Gâteau!’ (This Magnificent Cake!), employing the same soft visual style, combined with brutal scenes, and poetic story telling to dive into the dark corners of Belgium’s colonial past.

Watch ‘Oh Willy…’ yourself and tell me what you think:

‘Oh Willy…’ is available on the DVD ‘Framed – De beste Vlaamse korte animatiefilms 2010-2015’

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