ANIDOX:LAB by The Animation Workshop & Flee by Jonas Poher Rasmussen

Did you know that the Anidox Lab was involved in the R&D process for the animated documentary Flee?

Here Michelle Kranot gives us some insights into the process of working on animated documentary ideas in the early stages:

“We salute the team of FLEE for their hard work and conviction. ANIDOX are proud to be engaged in the early development of this project, when director Jonas Poher Rasmussen joined our ANIDOX:LAB. We helped him make his first teaser, and ‘matched’ him with the Animation production studio SunCreature. We also followed the process closely and consulted whenever it was useful.

We hope others feel as inspired by this film and as energized as we do – We believe that more filmmakers, artists, journalists and producers will now consider this unique marriage of animation and documentary – and that audiences become more open and curious.

Applications for ANIDOX:LAB 2022 are open until 20.4.22

‘Flee’ by Jonas Poher Rasmussen

Flee tells the story of Amin Nawabi as he grapples with a painful secret he has kept hidden for 20 years, one that threatens to derail the life he has built for himself and his soon-to-be husband. Winning many awards and accolades including the Sundance Grand Jury Prize, this film has garnered much critical acclaim since its release in 2021.

Told to director Jonas Poher Rasmussen under an alias, we witness the life-threatening, heartbreaking journey undertaken as a child refugee from Afghanistan. The animation is interspersed with archive footage from Afghanistan, punctuating the memories with indexical images; the sequences striking a resemblance to events currently unfolding in Ukraine. This is further heightened by the plight of the refugees trying to find a way through systems to safe places, which in this story took many years. Alongside this is the sub storyline of Amin’s sexual identity and his coming of age as a displaced refugee.

Flee was initially developed as part of AniDox Lab.

https://neonrated.com/films/flee

‘Escapology: the art of addiction’ directed by Alex Widdowson

 

Escapology: The art of addiction is a short animated documentary about addictive behaviour,  which attempts to be non-judgmental while avoiding gritty drug clichés. This film was recently released on Vice Media’s online platforms and received over half a million views in the first week. As a long term contributor to AnimatedDocumentary.com I thought this was a good opportunity to write about my own work, dissecting a project from the director’s perspective.

Having attended two Alcoholics Anonymous open meetings in 2013 when supporting a friend who was struggling, I was struck by how practical the advice was. Their stories and rhetoric helped me understand my own cannabis abuse as a teenager, but also put into perspective my less pronounced addictive behaviours. Part of the focus of those meetings involved encouraging new attendees to acknowledge that their relationship with alcohol was problematic.I connected with notion of ambiguity when defining addiction; if one enjoys a substance with complete clarity it must, on the surface, seem rational to seek it out at every opportunity. However at this point the difference between wants and needs become indistinguishable. Having quit cannabis in 2008 I couldn’t help but adopt a strong anti-drugs policy. Over the years I observed the nuances of those AA meetings being played out in my friends drug use and frequently appropriated the rhetoric when dispensing unsolicited advice.

In early 2016 I was looking for a warm up exercise before enrolling in the inaugural year of the Documentary Animation masters degree at the Royal College of Art. The Philadelphia Association seemed an obvious starting point. I had been working for this psychotherapy organisation as a graphic designer and had come to know many of the therapists. Nick Mercer, before completing the PA training, had worked for decades as an addiction counselor, often in prisons. Nick had struggled with heroin addiction in his youth and entered recovery through the Narcotics Anonymous fellowship.

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Nick invited me to a discussion group on addiction at the PA. His charisma and storytelling abilities were striking. It became clear that NA and AA functioned as a training ground for public speaking. Each member ceremoniously took the lectern in order to transform their fractured and painful experiences into a set of coherent and digestible narratives.

Following the meeting I set up my recording equipment in the PA’s historic library and began our interview. Once I’d whittled down the 2 hour tape to a 3 minute edit my task was to develop a visual translation of his words. There is always a danger that an interview based animated documentary becomes an illustrated podcast. I feel this risk increases the more interesting your interview material is. Thankfully a moment of inspiration split my visual and verbal narratives, helping me to avoid the drudgery of tautology. (Read ‘Show and Tell’, chapter 6 from Understanding Comics by Scott McCloud for more on the interplay between image and text).

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Nick spoke eloquently about the feeling of existing in the moment for the first time when he took morphine. I pictured the excitement of a performer who comes into his own on stage, but as he repeats the process all meaning is lost until he’s just going through the motions. This image brought me back to my heady days as a drug user. I remember boasting to my uncle about my adventures. He responded calmly, explaining that “it sounds like you’re just self medicating. You’ll figure it out eventually.” This short phrase shattered the romantic notions I’d conjured about my rebellious lifestyle. I realised, as Nick says in the film, my life had condensed down to something very conservative.

The narrative arc of an addict also reminded me of Exposed: Magicians, Psychics and Frauds, a documentary about the Amazing Randy, whose magic act escalated from simple tricks to incredibly dangerous feets of escapology, until finally he came close to dying live on television while trapped in an enormous milk tank. I was excited by the slightly discordant parallel between an addict and magician. There was enough substance for an audience to draw parallels regarding the excitement of the early days, along with the increasingly extreme self destructive behaviour. I also liked that the links weren’t seamless; the audience would need to do a little work to fit the two sides together.

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After the film was animated I developed the audio with a long running collaborator, Vicky Freund: musician, engineer and sound designer. The rich foley, atmospheres and score helped balance the stark black and white aesthetic, transforming the project from an elaborate exercise into a finished film.

Escapology was a watershed moment for my practice. It was partly responsible for my first experience of international recognition. I was invited to  participate in the Au Contraire mental health film festival in Montreal and later recruited as assistant festival programmer. On the back of this project the Philadelphia Association invited me to become artist in residence, culminating in the creation of Critical Living, a film about critical psychiatry and the PA therapeutic communities. Finally, Vice UK licenced the film for distribution online. Today it has been viewed internationally 629,425 times.