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Competition 4


Friday 26/11/2021 20:00 - 22:00, Saturday 27/11/2021 10:10 - 12:10
Total Duration: 1:57:04

  1. Mara, Tank the dog and chicken legs / มาร่า หมาหยอง น่องไก่ 03:46
  2. Thailand 2020
    Directed by: Thee Khanthavit
    Screenplay: Thee Khanthavit
    Animation: Thee Khanthavit
    Technique: 2D computer
    Music: Sirapop Saichot, Nuttakit Togeen
    Production/School: 9TSTORE
    Dialogue language: Thai
    Subtitles language: English

    While Tank The Dog, Scotty's buddy, is asleep, Mara is out hunting good dreams and goes into Tank's dream. The dream that is full of his deepest desire, which is "fried chicken legs". Tank is fighting hard and win his battle with Mara. Once Tank wakes up, Robo Dog is there shooting fried chicken legs to Tank's mouth. As if Robo Dog knows what Tank's desire is before he even knows it!



  3. Sky Sun , Tile Sun 06:15
  4. Iran 2020
    Directed by: Ziba Arzhang


  5. Sad Beauty 09:50
  6. Netherlands 2020
    Directed by: Arjan Brentjes
    Screenplay: Arjan Brentjes
    Animation: Arjan Brentjes
    Technique: 3D and 2D combinatiom
    Music: Arjan Brentjes
    Production/School: Arjan Brentjes
    Dialogue language: English

    In a heavily polluted world, a young woman mourns the disappearance of animal species. When she falls ill due to a bacterial infection, nature appears to send her a message in her hallucinations.

  7. 200 years WYSIWYG 02:42
  8. Greece 2020
    Directed by: Yiorgos Drosos
    Screenplay: Yiorgos Drosos
    Animation: Yiorgos Drosos
    Technique: 3D animation
    Music: -
    Production/School: -

    “Thus much of this will make black white, foul fair, Wrong right, base noble, old young, coward valiant.” William Shakespeare, Timon of Athens. 200 year Greek State. From the day Flip Wilson used the phrase ‘what you see is what you get’, in Rowan & Martin’s Laugh-In, in the late 1960s, until its extended use in computers -for their ability to accurately display prints on screen- this phrase seems to follow us in every aspect of our life, especially in the digital age. The power that media owns to persuade and to enforce its point of view on citizens’ consciences, leads to a timeless struggle between false and true, fiction and reality, darkness and light. ‘What you see is what you get’ is a remark on the effort to make, black white, night day.

  9. What We Walk On 02:35
  10. United States of America 2021
    Directed by: Peter Whittenberger
    Screenplay: Peter Whittenberger
    Animation: Peter Whittenberger
    Technique: 2D Digital Animation
    Music: Peter Whittenberger
    Production/School: Peter Whittenberger

    What We Walk On breaks down our natural history into an unending network of nodes. Each node serves as a small portion of the Earth’s interconnected histories. As the piece progresses, we begin to see the landscape divided by lines and borders. Through each node, our species begins to define how land is controlled and who controls them, leading to our present day. The climax of the work is the division of our species through physical borders, as well as, intellectual and spiritual ideas. This culminates in the spread of Covid-19 into a global pandemic. The work illustrates how nationalism created apathetic othering in the face of the suffering of others. Ideally, the pandemic that impacts every population of our species, should allow us to come to terms with our shared, biological nature. I want this piece to be an optimistic reflection of a renewed idea of our place in time and the universe. This work embraces the freedom of our fragile, inconsequential nature in relation to the greater functions of this planet, in all of known time. What We Walk On examines lessons learned from this epic tragedy, while reminding us that the Earth will always regenerate and renew itself, regardless of if our species has a place in the future or not.

  11. Egg / Őndőg 05:13
  12. Greece 2021
    Directed by: Chryssa Voudouri
    Screenplay: Chryssa Voudouri
    Animation: Chryssa Voudouri
    Technique: stop care animation drawn by hand
    Music: Chryssa Voudouri
    Production/School: Athens School of Fine Arts
    Dialogue language: no dialogue

    Αn old fashioned black and white painted stop carrè animation. The egg is travelling, breathing, flying, actually lives! Everything is twisted in a daydream and the line between fiction and reality is blurred. öndög : egg in Mongolian language. The title is shared with the titular award-winning film of Wang Quan'an.

  13. Danse Macabre 01:22
  14. United Kingdom 2021
    Directed by: Fantich & Young
    Screenplay: Fantich & Young
    Animation: Danse Macabre
    Technique: 3D digital animation
    Music: countdown clock ticking (sound)
    Production/School: Fantich & Young
    Dialogue language: N/A
    Subtitles language: N/A

    The Danse Macabre, also known as the Dance of Death is an artistic genre of allegory from the Late Middle Ages on the universality of death: no matter what one's station in life is, from emperors, popes, kings and queens to paupers, peasants, labourers and beggars the Danse Macabre unites us all. For in the end, we are all invited to have that final dance with death. Our work updates this medieval Memento mori to critique the global Military Industrial Complex’s that can be seen buying and selling arms and related surveillance technology at numerous international arm fairs around the world. These include international arm dealers, arms trade manufacturers, armed forces, defence contractors, corporations, public relations, lobbyists, politicians, bureaucrats, militia, police forces, mercenaries and terrorist organisations. The work is a Memento mori to all those who participate in the arms industry business that they too will one day have their dance with death. In a sense the work is a curse and "a plague on both your houses". The concept of the Danse Macabre originated in Europe in the 1400’s and the allegory was taken to new heights of popularity in the 1500’s by the virtuoso woodcuts of Hans Holbein the Younger being mass produced through the medium of the printing press.



  15. Any Instant Whatever 05:13
  16. United Kingdom 2019
    Directed by: Michelle Brand
    Screenplay: Michelle Brand
    Animation: Michelle Brand
    Technique: 2D Animation, Paint on Cell
    Music: Michelle Brand & Ed Rousseau
    Production/School: Royal College of Art

    A man in a room, in a film – it is the becoming of something and simultaneously becoming in itself. Nothing is as solid as we believe. The film explores our perception of time, bodies and objects, and our inability to comprehend the full motion of things.

  17. From the Balcony 12:42
  18. Greece 2020
    Directed by: Aris Kaplanidis


  19. the game just got real 01:00
  20. Switzerland 2020
    Directed by: bellopropello
    Screenplay: bellopropello
    Animation: Y
    Technique: D2
    Music: no
    Production/School: bellopropello
    Dialogue language: No Dialogue
    Subtitles language: no

    dogs and humans want to play. or not?



  21. Song Sparrow 11:43
  22. Denmark 2019
    Directed by: Farzaneh Omidvarnia
    Screenplay: Farzaneh Omidvarnia, Mehdi Rostampour
    Animation: Puppet
    Technique: Puppet
    Music: N/A
    Production/School: Farzaneh Omidvarnia

    Based on real events, in Austria 2015, and in Ireland 2019: A Group of refugees tries to reach a safe country in search of a better life. They pay a smuggler to convey them across the borders in a fridge truck. However, the freezing temperature of the truck turns their hopes for a better future into a fierce struggle for survival.



  23. Mountain 04:55
  24. United Kingdom 2020
    Directed by: Harrison Fleming
    Screenplay: Jake Chapman, Harrison Fleming
    Production/School: Jake Chapman, Harrison Fleming
    Dialogue language: English

    Four retired mountaineers reminisce and boast about the crippling injuries they sustained attempting to conquer a mythical mountain in their youth. Their nostalgic ramblings turn to horrors as their wounds seek to consume them.



  25. Frogberg Variations 03:39
  26. United States of America 2020
    Directed by: John Akre
    Screenplay: John Akre
    Animation: John Akre
    Technique: Stop Motion and After Effects
    Music: Ian Cook
    Production/School: John Akre

    A frog sets the rhythm - the whole landscape gets wrapped up in the act.

  27. Otonashi 10:00
  28. Germany 2021
    Directed by: Martin Gerigk
    Screenplay: Martin Gerigk
    Production/School: Martin Gerigk
    Dialogue language: No Dialogue

    "Painted in silence, a sparrow’s dream invokes timeless harmonies. In the heart of the universal geometry, the seed of calm is formed." Otonashi is a philosophical voyage through inner and outer experiences of the human existence - an audiovisual meditation of futuristic transmutations about the Japanese Hannya Shingyō.



  29. The Shift 07:09
  30. Sweden 2021
    Directed by: Johan Samuelsson
    Screenplay: Johan Samuelsson
    Animation: Johan Samuelsson
    Technique: 2D & 3D animation
    Music: Peter Lam
    Production/School: Johan Samuelsson, Crispin Stensson
    Dialogue language: English

    Many years ago tech giants lost control of AI robotic technology. By kidnapping and monitoring newborns, the Ai robots are now trying to master the one thing they have yet to understand… Creativity. The film starts with a kidnapped human baby boy. We see two of the AI droids implanting iris surveillance chips into the babies eyes. 15 years later. The film follows one of the children that are being studied. One day he stumbles upon a strange device that gives him an insight to the reality that he actually lives in.



  31. IKARUS 25:00
  32. Italy 2021
    Directed by: Francesco Orlando
    Screenplay: Francesco Orlando
    Animation: Francesco Orlando
    Technique: 3D Animation
    Music: Various artists
    Production/School: Francesco Orlando
    Dialogue language: Italian
    Subtitles language: English

    In a dystopian future, the geography of the world is radically changed also cause of the human activities. A tech toy Company loses a top-secret device during it transport, cause of a sudden hurricane. The founder of the Company Mr. Clarence Flag and his beautiful assistant Nora, wants to absolutely recover the lost device in the open sea, using a neural control robot, an Hi-tech prototype never drived; the robot become active thanks to a young wizard of the videogames: Victor. Some corrupt politicians and dishonest managers plans a cruel hunting to steal the lost precious device; the protagonists falls in spy traps and politic skullduggery, their difficult recover become a dangerous adventure.



  33. Lullaby 04:00
  34. Greece 2020
    Directed by: Athina Georgia Koumela
    Screenplay: Athina Georgia Koumela
    Animation: Athina Georgia Koumela
    Technique: stop motion 2d traditional animation
    Music: Athina Georgia Koumela
    Production/School: Athens School of Fine Arts
    Dialogue language: no dialogues

    Short animation video, using inspiration from F.G. Lorca’s Blood Wedding. Exploring basic elements of the play, like the horse, the child, the mother I am trying to give an interpretation of the lullaby sung by the wive and the mother-in-law of Leonardo, the only named character in their play, to their child. Leonardo, symbolized by his horse, is going to die in the end of the play, in his attempted escape with the bride. With him, will die the groom going after them as well. The lullaby is pro-economising the slaughter that will occure, it is a mourning before the death. Mourning of the men who fell on the battlefield is tradiotionally a feminine activity, as well as childcare. Mourning sometimes becomes a charming aspect of feminity. Through the play this part of feminity is seen critically, as long as it is a pre-arranged assumption of how a woman should act after the male’s death, be it her husband, her son, her lover, her father, or any other significant male in her life. The bride prefers to mourn the death of her lover and of her husband, and bear the hate of the community, of her family and of the groom’s mother, instead of running away with Leonardo. Leonardo’s wife, and her mother, sentence themselves to an eternity of mourning, of widow-ness, of loneliness, although the dead probably had not been worthy of their mourning. And the groom’s mother, although, in many parts in the play she expresses her desire of her son not to go much away in fear of his death, she gives her blessing to him to go hunt Leonardo who offended his pride by stealing his wife. Because, this is what a woman is supposed to do. And as romantic as it might appear, it is unbearable.


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