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 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.
We must have been busy with all sorts of of other things here at the blog (we have! – more soon) as it’s taken us a few months to catch up with this short which won the Short Film Jury Prize for Animation at Sundance this spring.
It has screened at many festivals, including Sheffield Doc/Fest this June, who described it thus:
“A strikingly beautiful stop motion animation exploring a local craftsman’s restoration of rural furniture in a small Irish community. Experimenting with the vivid expression of folklore storytelling, artifacts of bygone days are transformed from decaying neglect and brought to life, with playful vivacity.”
This animated oil-on-glass and live action documentary is centered on the campaign in Sierra Leone to get a 30% quota of women in parliament. Titles in the film explain that women took a key role in negotiating the peace process at the end of an 11 year civil war, however since then female politicians have had to deal with intimidation and misogyny as they navigate the political sidelines.
Animated Documentary reported on ‘30%’ in the early stages of production back in February 2012 and again once the film was finished and publicised by The Guardian in January 2013. And we liked it so much we felt it was worth reviewing too.
The animated sequences possess a luscious mixture of figurative and abstract imagery found most commonly in impressionism. Paint swims across the screen, smudging and slipping its sensual gloopy material around our vision with all the vibrancy of the region it refers to.
The metamorphic nature of the animated medium lends itself to turbulent tonal changes that take place in the opening sequence. The viewer zips though a busy Sierra Leone street into a viscous black void where we pass burning cars, violent gestures and feel the echoes of civil war. These melting edits are brought to great effect when combined with snappy sound design.
Following visual and audio darkness the screen literally swirls into the shape of Dr. Bernadette Lahai, one of the key political figures pushing forward the 30% quota bill. The rotoscoped image dissolves into live action. My feeling is that several of the video sequences possess considerably less flair than their animated counterparts. Such an uneven aesthetic could be said to threaten the impact of the short; but here it might be worth considering how disorientating an entirely rotoscoped 10 minute short could have been. Instead animation is reserved for storytelling and live action covers the communication of important details.
This film is fruitful both in its visuals and content. As a documentary the short conveys an under-reported theme in an engaging manor, while the animated sections are sumptuous in their appeal. At Animated Documentary we are always pleased to see such formal beauty and journalistic professionalism combined harmoniously!
No animation here, but a new way with documentary story-telling which we feel sure you’ll want to see!
Five years ago, the most iconic of David Lynch’s heroines, Isabella Rossellini, went from ‘Blue Velvet’ to ‘Green Porno.’ The actress and student of biology took on the characters of a mantis, a dolphin, a bedbug, a snail and many more, all for the purpose of enhancing our knowledge on the sex lives of animals.
These educational, experimental videos see Rossellini in full species costume, puppeteering her cardboard mates, whilst providing thoroughly researched narrative in her sultry accent.
Rossellini recently gave an interview for the Independent to discuss a new series for 2013, ‘Mamas’. This time she’s exploring maternal instincts in the animal kingdom.
For those who missed the online series (if you’re past the PG age) I’d recommend watching all of the ‘Green Porno’ videos.