Animanima 2020 Katalog

5-7. novembar 2020.

Dom kulture Čačak, Srbija

ONLINE EDITION

2020, November 5-7th Cultural Center Cacak, Serbia

5-7. novembar 2020.

Dom kulture ÄŒaÄ?ak, Srbija

2020, November 5-7th Cultural Center Cacak, Serbia

Nulto Iskustvo, pogled u budućnost Uncharted Waters, a View of the Future str pg 04-05

ANIMANIMA.DOCS: savršen spoj sadržaja i forme ANIMANIMA.DOCS: A Perfect Amalgam of Content and Form str pg 14-19

Estonski majstori animacije: Eesti Joonisfilm Estonian Masters of Animation: Eesti Joonisfilm

Jedno festivalsko putovanje

str pg 24-33

A Festival Journey str pg 06-13

Upoznajte animatora: Sofia Carillo

MIYU Distribution: Nova generacija

Meet an Animator: Sofia Carillo

MIYU Distribution: A New Generation

str pg 20-23

str pg 34-35

Od mita do burleske: Novi srpski animirani film From Myth to Burlesque: New Serbian Animated Film str pg 40-47

Program za decu Animanima KIDS str pg 50-53

Govorni program Animanima TALKS str pg 36-39

Indeks Index str pg 62-63

STASH: Jedi, pij, misli!

STASH: Eat, drink, think! str pg 48-49

Nulto iskustvo, pogled u budućnost Uncharted Waters, a View of the Future

Mislili smo da poznajemo svet u kome živimo, sve do pre nešto više od decenije, kada je taj isti svet pod naletom ekonomske krize nesagledivih razmera najednom posrnuo, ostavivši nas sve u čudu.

Zemlja je nastavila da se okreće, ali se perpetuum mobile liberalnog kapitalizma zaustavio na jedan kratki trenutak. Taman toliko da uhvatimo dah, da nam ona hamletovska sumnja o truleži odjednom zazvuči kao upozoravajuća paradigma. Iznenađenjima nikad kraja, te tako evo nas opet pred velikim iskušenjima.

Globalna pandemija je iznova globalnu ekonomiju nategla do pucanja, ali su se, čini se kao nikada pre, pod udarom našle i osnovne društvene i humane vrednosti (na kojima gordo zasnivamo supremaciju nad ostalim biloškim vrstama). Pokrećući 2007. godine festival ANIMANIMA, nismo ni sanjali da će inicijalni slogan Novo iskustvo, nova inspiracija iskliznuti iz svoje semantičke opne i u svetlu burnih promena današnjice zazvučati kao manifest, nužni imperativ. Četrnaesto izdanje ANIMANIME održaće se, zbog opšte poznatih razloga, onlajn, dakle, u virtuelnom prostoru. Verujemo, ne tako daleka budućnost doneće odgovore na pitanje da li će festivali moći (lako) da se vrate u fizički prostor ili će ritual zajedničkog gledanja filmova u mraku bioskopske dvorane sve više postajati relikt nekog prošlog vremena, povlačeći se pred „hibridnim“ formatom kao poželjnijom alternativom, ili će se pak sve preseliti na internet.

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Kako god bilo, ono čega nikada neće nedostajati i što je valjda jedina poznata u ovoj jednačini su animirani filmovi, koje ćemo na ovaj ili onaj način gledati i – uživati. U svetlu ove ideje i ANIMANIMA 2020 će od 5. do 7. novembra ponuditi gledaocima zanimljive programe: nove filmove etabliranih autora kao što su Andreas Hikade, Teodor Ušev ili Žofrua DeKresi, ali i diplomska ostvarenja mladih snaga sa prestižnih francuskih škola animacije u programu kuće MIYU Distribution; autorski portret meksičke animatorke Sofije Kariljo; novi program Animanima.DOCS posvećen animiranoj dokumentaristici; selekciju filmova estonskog studija Eesti Joonisfilm i, naravno, najnovije filmove srpskih autora. Nismo pobrojali sve, otkrićete već sami u trenutku koji vam se učini najpogodnijim, kada se posle samo nekoliko klikova kompjuterskim mišom otvori predivni haos mogućnosti. Vidimo se ponovo u Velikoj dvorani Doma kulture u Čačku, nadajmo se već na narednom, 15. izdanju ANIMANIME!

We’d thought we knew the world we live in until about a decade ago, when it suddenly stumbled under the sway of the economic crisis of immeasurable proportions, leaving everybody at a loss for words. The earth did keep on turning, but the perpetuum mobile of the liberal capitalism had stopped in its track for a short moment, enough for us to hold our breath in a sobering reminiscence of Hamlet’s suspected rotten affairs. Surprises, how-

ever, never cease and there we go again, faced with mind-twisting challenges.

The global economy has once again been strained to the point of breaking, this time by the global pandemics; this time, however, our basic social and human values (the cornerstones of our assumed supremacy over other species) have been pushed to the limits like never before. Starting our ANIMANIMA festival back in 2007, we never thought that our initial slogan ’new experience, new inspiration’ would actually slip out of its semantic bubble to become almost a manifest and an innevitable imperative in the light of the turbulent changes we are witnessing today. Due to the well-known reasons, the fourteenth edition of AINIMANIMA will be held online, in the virtual space. We believe that not so far from now, the future will bring the answer to the question whether it will be possible for festivals to reposses (easily) their physical space or if perhaps the ritual of communal film-watching in the darkness of cinema hall will gradually become a relict of long-gone times, making way for the ’hybrid’ format as the preferred alternative, while not excluding the possibility of an ultimate transfer of the entire experience to the Internet.

Whatever the future may bring, the one thing that can never go amiss is the probably only known value to this equation – the animated films that will be watched and enjoyed this way or that. In the light of Uvod Introduction

this idea, between 5th and 7th November, ANIMANIMA 2020 will be presenting its highly interesting programmes, from the new films by established authors such as Andreas Hykade, Theodore Ushev or Geoffroy de Crécy, to graduate works of young guns from prestigious French animation schools, presented within the MIYU Distribution programme; the author’s portrait of the Mexican animator Sofia Carillo; the new programme titled Animanima.

DOCS, dedicated to animated documentaries; a selection of the Estonian Eesti Joonisfilm studio and, of course, the latest films of Serbian authors. This is not everything, as you will be discovering the offer for yourself at your own convenience, reaching for the wonderful chaos of possibilities that open after a few clicks on the computer mouse. Until our next encounter at the great hall of the Cultural Centre in Čačak, which we hope will take place at the next, 15th edition of ANIMANIMA!

Milen Alempijević, Programski direktor / Programme Director

Takozvani festivalski krug je orbita kojom svake godine svetom krstari mnoštvo filmova iznova podsećajući gledaoce na svim meridijanima koliko je animirani univerzum i dalje neistražen i naseljen čudima.

Na tom putovanju, za neke od tih filmova je i naš festival Animanima jedno od krajnjih odredišta. Međutim, putovanja zbog kojih je ciklus najnovijih filmova dobio ovakav naslov, zapravo su ona na koje ćemo krenuti onog trenutka kada na ekranima počnu da se nižu animirane slike pred našim očima. Može to biti put u neizvesnost na kome ćemo pratiti dečaka božanskog glasa u filmu Pesma o izgubljenom dečaku Daniela Quirkea, ili će nas u beskraj okeana poneti Arka Natka Stipaničeva. Da li ćemo se zapitati gde li su svi nestali kada dospemo na Prazna mesta Geoffroya DeCrecya? Da li je postapokaliptična Španija Cokea Riobooa u filmu Mad in Xpain zapravo jedno ludo zabavno mesto? Ili je putovanje filmom Beyond Noh Patricka Smitha lutanje lavirintom kulturoloških razlika oslonjenih na određene antropološke obrasce? Ne moramo se ni pomeriti s mesta, ali: dok se slike kreću, krećemo se i mi.

JEDNO FESTIVALSKO PUTOVANJE A FESTIVAL JOURNEY

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The so-called festival fircle is the worldwide orbit for a multitude of films in their annual gyration, reminding the viewers in different meridians of the vast unexplored spaces and countless miracles of the animated universe. For a certain number of these films, our Animanima festival is one of destinations on their journey. However, the journeys that have given the name to the cycle of the most recent films are actually the journeys that we will take from the moment when the animated pictures start moving on the screen before our eyes. It can be a journey into the unknown on which we accompany the boy with a heavenly voice in Daniel Quirke’s The Song of the Lost Boy, or the one taking us to the endless ocean spaces in Natko Stipaničev’s The Arc. Will we be asking where has everybody gone finding ourselves in Geoffroy DeCrecy’s Empty Spaces? Is the post-apocalyptic Span of Coke Rioboo’s Mad in Xpain in fact a stupendously fun place? When we sit down to watch Patrick Smith’s Beyond Noh, do we embark on a journey down the labyrinth of cultural differences stemming from set of anthropological patterns?

We really do not have to move from our position at all, but while the pictures are moving, so we are.

Maskota Mascot Jedan lisac želi da postane maskota grada i studira na Akademiji za maskote. Živi u minijaturnoj kućici i skače sa jednog na drugi honorarni posao, dok se istovremeno zadužuje kako bi finansirao svoje estetske operacije.

A fox wants to become a city mascot and studies at the Mascot training academy. He lives in a tiny house, juggles with many part-time jobs, and has to take out a loan to finance plastic surgery.

Južna Koreja / South Korea 2019, 6:50 Tehnika / Technique: 3D računar / 3D Computer Režija / Direction: Leeha Kim Scenario / Script: Leeha Kim Animacija / Animation: Leeha Kim

Leeha Kim je rođen u Daegu u Južnoj Koreji 1980. godine, diplomirao na Odseku za vizuelni dizajn na Univerzitetu u Hansungu 2008. godine. U februaru 2017. završio studije na Odseku za animaciju korejskog Nacionalnog univerziteta za umetnost. Trentutno angažovan na produkciji kratkih animiranih filmova u Leeha studiju.

Leeha Kim was born in Daegu, South Korea, 1980. February 2008 graduated from the Visual Image Design Department of Hansung University. Graduated from the Department of Animation at the Korea National University of Arts in February 2017. He is currently producing short animation in Studio Leeha.

Jedno festivalsko putovanje

A Festival Journey

Montaža / Editing: Leeha Kim Dizajn zvuka / Sound design: Haenee Lee Produkcija / Production: Studio Leeha

Mad in Xpain Mad in Xpain U post-apokaliptičnoj Španiji, plemena preživelih se bore za kontrolu nad jedinim izvorom dragocenog životnog resursa, crnog vina sumnjivog kvaliteta.

In a post-apocalyptic Spain, different tribes survive, struggling to gain control of the only livelihood that exists, a very low quality red wine.

Španija / Spain 2020, 13:00 Tehnika / Technique: Animacija predmeta / Object animation Režija / Direction: Coke Riobóo Scenario / Script: Coke Riobóo

Coke Riobóo, muzičar, kompozitor i animator. U svom dosadašnjem opusu, režirao je i animirao četiri kratka filma i jednu internet seriju, i komponovao je muziku za nekoliko kratkometražnih i tri dugometražna filma. Nastupao je na radionicama animacije širom sveta i dobitnik je Gojine nagrade u 2006. godini za kratki film Saidovo putovanje (Said's Journey, 2006).

Animacija / Animation: Eva Ramón, Coke Riobóo

Coke Riobóo, musician, composer and animator. He has directed and animated four shortfilms and a web series, composed the soundtrack of several shortfilms and three feature films, and has taught animation workshops around the world. Winner of a Goya Award for his 2006 shortfilm Said's Journey (2006).

Dizajn zvuka / Sound design: Federico Pájaro

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Montaža / Editing: Coke Riobóo

Produkcija / Production: Los Animantes

Prazna mesta Empty Places Dovršen neposredno pre globalne zabrane kretanja, film Empty Places predstavlja odu melanholiji mašina.

Francuska / France 2020, 8:30 Tehnika / Technique: 3D računar / 3D Computer

Completed before the global lockdown, Empty Places is an ode to the melancholy of machines.

Nakon završenih studija istorije, Žofroa Dekresi je prihvatio angažman u Ubisoftu na izradi video igara, gde je načinio prve korake u grafičkom izrazu i animaciji. Za prvi samostalni muzički spot dobio je nagradu Music Victory, nakon čega otpočinje rad kao producent i režiser različitih formata: reklama, spotova... naročito u Francuskoj, V. Britaniji i SAD. Žofroa režira svoj prvi kratki film Dog Days 2007. godine, u produkciji studija Autour de Minuit. Godine 2009. usledila je produkcija filma Berni’s Doll u režiji Yanna Jouettea, sa kojim osvaja Srebrni kristal na festivalu u Ansiju.

After studying History at university, Geoffroy de Crécy worked in video games at Ubisoft, where he was introduced to graphics and animation. He received a Music victory for his first independent animated music video, then began producing and directing animated films in all possible forms: commercials, music videos... especially in France, the United Kingdom and the United States. In 2007, Geoffroy directed his first short film Dog Days (16’), produced with Autour de Minuit. In 2009, he produced Berni’s Doll (11’), by director Yann Jouette who won the Silver Crystal at the Annecy festival.

Jedno festivalsko putovanje

A Festival Journey

Režija / Direction: Geoffroy de Crécy Scenario / Script: Geoffroy de Crécy Animacija / Animation: Geoffroy de Crécy, Arnaud de Mullenheim Montaža / Editing: Geoffroy de Crécy, Jane Chagnon Dizajn zvuka / Sound design: Baptiste Boucher Produkcija / Production: AUTOUR DE MINUIT

Arka Arka Veličanstveni prekookeanski kruzer plovi morem.

A grandiose transoceanic cruise ship sailing the seas.

Hrvatska / Croatia 2020, 14:45 Tehnika / Technique: 3D računar / 3D computer Režija / Direction: Natko Stipaničev

Natko Stipaničev završio je osnovne studije Filma i videa na Umetničkoj akademiji u Splitu, a diplomirao na Odseku za animirani film i nove medije na Akademiji likovnih umetnosti u Zagrebu. Bavi se animiranim filmovima i muzikom.

Natko Stipaničev graduated with a Bachelor’s degree from the Arts Academy in Split, Department of Film and Video, and earned a Master’s degree from the Academy of Fine Arts in Zagreb, Department for Animated Film and New Media. He makes animated films and music.

Scenario / Script: Natko Stipaničev Animacija / Animation: Natko Stipaničev Montaža / Editing: Natko Stipaničev Dizajn zvuka / Sound design: Natko Stipaničev Produkcija / Production: Kreativni sindikat

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Alteting Altötting Znate, još kao dečak sam se zaljubio u Devu Mariju. To se dogodilo u jednom bavarskom gradiću koji se zove ALTETING.

Nemačka / Germany 2020, 11:41 Tehnika / Technique: 2D računar / 2D Computer

You know, when I was a boy, I fell in love with the Virgin Mary. It happened in a little Bavarian town called ALTÖTTING.

Andreas Hykade je rođen u jeku Leta ljubavi, u Altetingu, središtu kulta Deve Marije. Kada je odrastao, pravio je filmove za odrasle. Sada je otac, pa pravi i filmove za decu. Od 2015. godine, Andreas je direktor Instituta za animaciju pri filmskoj akademiji u Baden-Virtembergu i Predsednik FMX Konferencije.

Andreas Hykade was born in the summer of love in Altötting, center of the Virgin Mary cult. Since he’s been a grown-up, he’s created animated films for grown-ups. Now he’s a father, he creates animated films for children as well. Since 2015 he is the director of Animationsinstitut at Filmakademie Baden-Württemberg and Conference Chair of FMX.

Jedno festivalsko putovanje

A Festival Journey

Režija / Direction: Andreas Hykade Scenario / Script: Andreas Hykade Animacija / Animation: Elena Walf, Andreas Hykade, Anselm Pyta, Orion Schweitl Dizajn zvuka / Sound design: Olivier Calvert Produkcija / Production: Studio FILM BILDER, National Film Board of Canada, Ciclope Filmes

Pesma o izgubljenom dečaku The Song of a Lost Boy Ben je dečak iz hora koji, nakon što mu usred solo deonice otkaže glas, proživljava krizu vere i odlučuje da odbegne u svet. Ubrzo nailazi na grupu nomada koji mu pružaju utočište. Međutim, Ben i dalje krije tajnu svog identiteta, dok pokušava da donese ispravnu odluku.

Ben a young choir boy, who after his voice breaks mid solo, has a crisis of faith, decides to run away from his community. He happens upon a group of nomads who take him in, though Ben hides secret about who he really is, and must decide what to do with it.

U svom rediteljskom radu, Daniel Quirke je okrenut stop motion tehnici i tehnikama kombinovanih medija. Nakon diplome u oblasti likovne umetnosti, završio je osnovne studije animacije na Midleseks Univerzitetu, a zatim upisao Nacionalnu akademiju za film i televiziju.

Daniel Quirke is a director who specialises in stop motion and mixed media techniques.

Coming from a fine art background, he studied BA Animation at Middlesex University before going onto The National Film and Television School.

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V. Britanija / UK 2020, 9:56 Tehnika / Technique: Animacija lutaka / Stop Motion Puppets Režija / Direction: Daniel Quirke Scenario / Script: Bríd Arnstein Montaža / Editing: Margred Pryce Dizajn zvuka / Sound design: Ruanth Chrisley Thijssen Produkcija / Production: National Film and Television School

Iza Noa Beyond Noh Iza Noa ritmički animira 3475 pojedinačnih maski iz celog sveta, počev od izuzetne maske japanskog No teatra, od koje se nastavlja kulturološko putovanje krot ritual, upotrebnu vrednost, devijaciju i politiku.

Beyond Noh rhythmically animates 3,475 individual masks from all over the world, beginning with the distinctive masks of the Japanese Noh theater and continuing on a cultural journey through ritual, utility, deviance, and politics.

Patrick Smith je poznat po svojim metaforičkim ručno crtanim kratkim filmovima, kao i ekspermentalnim stop motion filmovima. Formativne godine je proveo kao storibordista u Dizniju i kao reditelj animacije na MTV-u. Smith je član Amerićke akademije za filmsku umetnost i nauku i stipendista Njujorške umetničke fondacije.

Patrick Smith is known for his metaphorical hand drawn short films, as well as his experimental stop motion films. His formative years were spent as a storyboard artist for Walt Disney, and animation director for MTV. Smith is a member of the Academy of Motion Picture Arts and Sciences, and a fellow of the New York Foundation of the Arts.

Jedno festivalsko putovanje

A Festival Journey

SAD / USA 2020, 4:00 Tehnika / Technique: Animacija predmeta / Animated objects Režija / Direction: Patrick Smith Animacija / Animation: Patrick Smith Muzika / Music: Turku Produkcija / Production: Blend Films

Puno je vremena prošlo od pojave Potonuća Luzitanije (The Sinking of Lusithania, 1918) Winsora McCaya, filma koji istoričari animacije smatraju prvim značajnim animiranim dokumentarnim filmom, do trenutka kada su primerci ove nesvakidašnje filmske vrste počeli odvažno i provokativno da zauzimaju mesta u slotovima festivalskih programa. I ne samo kratkometražne animacije, već i na velikim festivalima igranog filma; setimo se samo Valcera sa Baširom (Waltz im Bashir, 2008) Arija Folmana u zvaničnom takmičarskom programu u Kanu i potonje nominacije Američke akademije za film za najbolji film van engleskog govornog područja. Počeci su bili obeleženi teorijskim kontroverzama zasnovanim na bazičnom pitanju kako animirani film uopšte može biti dokumentaran, a danas je to izlišno pitanje, u obilju primera koji svedoče savršenu organičnost ove veze.

Izražajna sredstva jezika animacije postaju inherentna dokumentarističkoj formi, dajući ubedljiv umetnički rezultat. Filmovi iz revije Animanima.DOCS to savršeno dokazuju.

ANIMANIMA.DOCS: SAVRŠEN SPOJ SADRŽAJA I FORME ANIMANIMA.DOCS: A PERFECT AMALGAM OF CONTENT AND FORM

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Quite a big period of time passed since the appearance of Winsor McCay’s The Sinking of Lusithania (1918), the film that animation historians consider the first significant animated documentary untill the time when specimens of this extraordinary film genre have started their daring and provocative occupation of film festival slots. And this is true not only of animation shorts, but also of big festivals of full feature films – to mention the example of Ari Folman’s Waltz im Bashir (2008) featuring in the official competition programme at Cannes and its subsequent American Film Academy nomination for the best film outside English-speaking countries. The beginnings were marked by theoretical controversies based on key question of how an animated film can be a documentary film in the first place. Today, after countless films providing a perfect example of the organic nature of this connection, this question has become quite superfluous. The means of expression contained in animation become inherent to the documentary form, resulting in convincing artistic output, which is perfectly illustrated by the films featured in the AnimanimaDOCS review.

Običan muškarac Just A Guy Animirani dokumentarni film o ljubavi. Tri žene otkrivaju deliće svojih osećaja simpatije, privlačnosti i veze sa Ričardom Ramirezom, serijskim ubicom i silovateljem sa kojim su stupile u kontakt osamdesetih godina prošlog veka, nakon što mu je izrečena presuda. Iz perspektive njihovih osećanja, vraćamo se pismima koje su razmenjivali i oživljavamo emocije koje deluju sablasno poznato i fasciniraju svojom opsesivnošću.

An animated documentary film about love. Three women share glimpses of their affection, attraction and relationship with Richard Ramirez: A serial killer and rapist they contacted after his conviction in the 80s. Through their perspective we revisit exchanged letters and emotions that are as obsessive as they are hauntingly familiar.

Shoko Hara je rođena 1988. godine u Japanu. Osnovne studije je završila 2012. godine, na odseku za Medijski dizajn pri Univerzitetu DHBW Ravensburg. Nastavljajući rad u oblasti analognih i eksperimentalnih tehnika, pohađa studije Dizajna pokreta na Filmskoj akademiji u Baden Virtembergu, u periodu od 2012. do 2016. Trenutno predaje Grafiku pokreta i radi kao režiser animacije za reklamne i muzičke spotove.

Shoko Hara is born in 1988 in Japan. In 2012, she obtains her B.A. in Media Design at the DHBW Ravensburg. With her emphasis on analogue and experimental works, she moves on to study Motion Design at the Filmakademie BW between 2012-2016. She is currently teaching Motion Graphics and works Animation Director for commercials spots and music videos.

ANIMANIMA.DOCS

Nemačka / Germany 2020, 14:58 Tehnika / Technique: 2D računar, glina, kombinovana tehnika / 2D Computer, Clay, Diverse techniques Režija / Direction: Shoko Hara Scenario / Script: Simon Thummet Animacija / Animation: Sofiia Melnyk, Shoko Hara, Valentin Kemmner, Matisse Gonzales, Eliott Deshusses Montaža / Editing: Tobias Wilhelmer Dizajn zvuka / Sound design: Marc Fragstein Produkcija / Production: Studioseufz

Fizika tuge The Physics of Sorrow U Fizici tuge, prvom animiranom filmom u celosti izrađenom u slikarskoj tehnici enkaustike, a nadahnutim istoimenim romanom bugarskog pisca Georgija Gospodinova, nepoznati čovek prebira po uspomenama iz mladosti provedene u Bugarskoj, suočen sa realnošću svog života odrasle osobe u Kanadi, ispunjenog melanholijom i gubljenjem dodira sa korenima.

The first fully animated film made using the encaustic-painting technique The Physics of Sorrow, inspired by the novel by Bulgarian writer Georgi Gospodinov, tracks an unknown man’s life as he sifts through memories of his youth in Bulgaria through to his increasingly rootless and melancholic adulthood in Canada.

Kanada / Canada 2019, 27:00 Tehnika / Technique: Kombinovana tehnika / Diverse technique Režija / Direction: Theodore Ushev Scenario / Script: Theodore Ushev (Based on book by Georgi Gospodinov) Animacija / Animation: Theodore Ushev Montaža / Editing: Theodore Ushev

Rođen u Ćustendilu u Bugarskoj, Teodor Ušev živi u Monteralu od 1999. godine. Najpre se bavio multimedijom, a konačno otkriva kreativni prostor u saradnji sa kanadskim Nacionalnim odborom za film, gde je do sada izradio više od 10 filmova, uključujući Lipsett Diaries (2010) kao i Blind Vaysha (2016), nominovan za nagradu Akademije Oskar.

Born in Kyustendil, Bulgaria, Theodore Ushev came to Montreal in 1999. He worked in the multimedia industry and then found fruitful creative soil at the National Film Board of Canada, where he has made more than 10 films to date, including Lipsett Diaries (2010) and the Academy Award®-nominated short Blind Vaysha (2016).

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Dizajn zvuka / Sound design: Olivier Calvert Produkcija / Production: National Film Board of Canada

Riči Richie Riči, veseli pijanac, pripoveda o novogodišnjoj večeri 2014. godine, koju je proveo u bolnici. Između neispravnih instalacija i drugih skatofiličnih problema, oživljava sećanja na ljubav prema svojoj ćerki, svoj odnos prema smrti i žudnju za padom.

Richie, a joyful drinker, talks about the 2014 new year’s eve he spent at the hospital. Between piping malfunctions and other scatophilic problems, he evokes his love for his daughter, his relationship to death and his desire for descent.

Romane Granger je animatorka i ilustratorka. Živi i radi u Parizu. Studije animacije je završila na ENSAD-u 2019. godine.

Romane Granger is an animator and illustrator working in Paris. She graduated from animation at ENSAD in 2019.

ANIMANIMA.DOCS

Francuska / France 2019, 8:30 Tehnika / Technique: 2D računar / 2D Computer Režija / Direction: Romane Granger Scenario / Script: Romane Granger Animacija / Animation: Romane Granger Dizajn zvuka / Sound design: Matthieu Fraticelli Produkcija / Production: ENSAD

Svi njeni ljubavnici u zagrljaju smrti All Her Dying Lovers Film se zasniva na priči koja je nastala kao nepotvrđena glasina tokom Drugog svetskog rata u Čehoslovačkoj, da bi konačno osvanula u tabloidima tokom 2014. godine. U priči su medicinska sestra, nacisti, zavođenje i sifilis, a šta se stvarno desilo ostaje obavijeno velom tajne.

Film is based on a tale that started out as a rumour from WWII Czechoslovakia and ended up in the international tabloids in 2014. The story in question involves a nurse, Nazis, seduction and syphilis, but noone can agree on what really happened.

Nemačka, Češka / Germany, Czech Republic 2020, 5:33 Tehnika / Technique: Rotoskopija / Rotoscopy Režija / Direction: Anna Benner, Eluned Zoë Aiano Animacija / Animation: Anna Benner Dizajn zvuka / Sound design: Michał Krajczok

Ana Bener (Nemačka, 1983) je diplomirala na studijama Ilustracije na Umetničkom koledžu Kambervel u Londonu (2007), a zatim završava i Master studije u oblasti filmske estetike na Univerzitetu u Oksfordu (2010).

Eluned Zoe Aiano je britanska filmska umetnica, video urednik i prevodilac. Jedna od najčešćih tema njenih radova su prostori centralne i istočne Evrope, diseminacija ideja kroz priče i stvaranje identiteta kroz mit.

Anna Benner (Germany, 1983) graduated Illustration at London’s Camberwell Collegeof Art (2007) before completing her Masters in Film Aesthetics at the Universityof Oxford (2010).

Eluned Zoe Aiano is a British filmmaker, video editor and translator. Her work is generally centred on Central and Eastern Europe and often addresses the dissemination of ideas through stories and identity creation through myth.

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Produkcija / Production: ZLA Films, Punk Film

Meso Flesh Film se bavi temom žene kao tela za eksploataciju, koje vremenom prolazi kroz faze pripreme mesa za ishranu. Primenom forme i teksture stvarnih materijala kao što su boja, vodene boje, filmska traka od 35mm i dekompozicije virtuelnih prikaza kao što su gličevi i datamosh, pet žena dobijaju svoj animirani prikaz u filmu ženskih autora, iz ugla perverznog pogleda društva u kome žive.

Flesh is about how women are seen as bodys at disposal, judged as time passes as meat cooking stages. Through the form and texture of real materials such as paint, watercolor, clay, 35mm film and virtual image decomposition as glitches and datamosh, five women are represented in animation by women animators to highlight the perverse way in which society looks at them.

Kamila Kater je osnovne studje završila na Anglija Raskin univerzitetu u Kembridžu, Engleska. Radila je kao animator, umetnički direktor i lutkar u stop-motion produkcijama kratkih filmova i kao saradnik animator na dugometražnom filmu Bob Cuspe, we do not like people u produkciji Coala Filmes.

Camila Kater is a Bachelor of Medialogy with undergraduate sandwich in Film and Television Production by Anglia Ruskin University (Cambridge, UK). She served in stop-motion productions as animator, art director and puppet maker in shorts and as an art and animation assistant on the feature film Bob Cuspe, we do not like people (in production) from Coala Filmes.

ANIMANIMA.DOCS

Brazil, Španija / Brazil, Spain 2019, 12:12 Tehnika / Technique: Kombinovana tehnika / Diverse techniques Izvorni naslov / Original title: Carne Režija / Direction: Camila Kater Scenario / Script: Camila Kater, Ana Julia Carvalheiro Animacija / Animation: Camila Kater, Giovana Affonso, Flavia Godoy, Cassandra Reis, Leila Monsegur Montaža / Editing: Samuel Mariani Dizajn zvuka / Sound design: Xabier Ferreiro, Julia Teles, Luis Felipe Labaki Produkcija / Production: Abano Producións, Doctela

UPOZNAJTE ANIMATORA: SOFIJA KARILJO (Meksiko) MEET THE ANIMATOR: SOFIA CARRILLO (Mexico)

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Filmovi meksičke vizuelne umetnice Sofije Kariljo su svetovi tajanstva. Kao u pričama E. A. Poa, ne možemo se odupreti spleenu koji nas obuzima, saspensu koji napinje nerve, teskobnom osećaju da smo saučesnici ili neželjeni svedoci nekog duboko uznemirujućeg događaja. Istovremeno, uživamo u vizuelnoj raskoši animiranih prizora u kojima svet materijalnih stvari voljno stupa u službu fantazmagoričnog. Suvereno demonstrirajući finese vladanja stop motion tehnikom, Sofija proširuje semantički prostor lutke kao animiranog objekta do neslućenih granica. O čemu god da pripoveda, o sestrinstvu i demonskoj odanosti, o melanholičnoj porodičnoj hronici, ili o jezivim uspomenama na detinjstvo, mračni prostori, nevidljivi iza filmske slike, kao da prizivaju svet senki meksičkog kulta mrtvih, što filmovima daje auru onostranog. Tankoćutnost, potom i umešnost u preklapanju kodova svakodnevnog i iracionalnog Sofiju Kariljo čine umenticom osobenom u najboljem značenju te reči.

Films made by visual artist Sofia Carrillo are worlds shrouded in mystery. In the fashion of Edgar Allan Poe’s storeis, one cannot resist the overwhelming feeling of spleen, the nerve-wrecking suspense and the uneasy feeling of witnessing or participating in a deeply distressing experience. At the same time, we cannot but enjoy the visual richness of the animated scenes in which the material world willingly subdues to the phantasmagorical. In her sovereign demonstration of the refined mastery of the stop motion technique, Sofia expands the semantic space of the puppet as the animated object, driving it to unsuspected horizons. Whatever the topic, from sisterhood and demonic loyalty, to the melancholic family chronicle and uncanny memories of a childhood, the dark spaces hidden behind the film picture seem to evoke the world of shadows from the Mexican cult of the dead, giving the films the aura of the afterworld. The subtlety, accompanied by the artful overlapping of codes of the mundane and the irrational, make Sofia Carrillo a special artist in the best meaning of the word.

Sofija Kariljo

Sofia Carrillo

Sofija Kariljo je završila osnovne studije na Univerzitetu u Gvadalahari, Meksiko, na odseku za Audio-vizuelne umetnosti. Autor je radova u oblasti klasične animacije i angažovanjima u ulozi umetničkog direktora. Članica AMPAS-a (Oskar) i AMACC (Ariel) Akademije. Radovi Sofije Kariljo prikazivani su na mnogobrojnim festivalima uključujući Sandens, Anesi, Čikago, Sitges, Fantazija, Fantastik Fest, Havana Kuba, Tricky Women i dr. Dvostruki je osvajač srebrnog Arijela za najbolji animirani kratki film (Prita Noire 2011, Cerulia 2017). Film Cerulia osvojio je više od 20 nagrada širom sveta. Sofija je sarađivala na pop-up reklamama za XX Antologiju horor filma, u režiji Jovanke Vučković, Eni Klark, Roksane Bendžamin i Karin Kuzama (Magnolia Pictures i XYZ Films), premijerno prikazanoj na Sundance festivalu 2017. godine. Trenutno radi na projektu svoje prve opere, uz podršku SNCA, Nacionalnog Sistema umetničkih stvaralaca 2017.

Sofia Carillo has BA in Audio Visual Arts from the University of Guadalajara (México). She has worked in both classical animation and art direction. AMPAS (Oscar) and AMACC (Ariel) Academy member. Sofia’s works have screened in Sundance, Annecy, Chicago, Sitges, Fantasia, Fantastic Fest, Habana Cuba, Tricky Women etc. She is a winner of two silver Ariel for Best Animated shortfilm (Prita Noire 2011, Cerulia 2017). Sofia’s film Cerulia has won more than 20 prizes around the world. She has also collaborated with the interstitials for the XX Anthology Horror Film, directed by Jovanka Vuckovic, Annie Clark, Roxanne Benjamin and Karin Kusama (Magnolia Pictures and XYZ Films), premiered at Sundance 2017. Currently in the development of her opera prima supported by the SNCA, National Art System for creators 2017.

Crna lutka Black Doll Jeziva priča o dve sestre, istovremeno povezane i sputane neraskidivim vezama: uzajamna zavisnost, strah od razdvajanja i rutina svakodnevnice.

A creepy tale of two sisters bonded and bound by the ties that bind: co-dependence, separation anxiety and routine.

Meksiko / México 2011, 8:10

Montaža / Editing: Uri Espinoza de los Monteros

Tehnika / Technique: Stop Motion, piksilacija / Stop Motion, Pixilation

Dizajn zvuka / Sound design: Odín Acosta

Izvorni naslov / Original title: Prita Noire

Produkcija / Production: Consejo Estatal para la Cultura y las Artes / Nahuyacafilms

Režija, Scenario, Animacija / Direction, Script, Animation: Sofia Carillo

Tužna kuća The Sad House Priča o porodici, ispričana preko predmeta pronađenih u prodavnicama starudija i na buvljim pijacama.

The story of a family told through objects found in junk shops and flea markets.

Meksiko / México, 2013, 13:00

Montaža / Editing: Uri Espinoza de los Monteros

Tehnika / Technique: Stop Motion

Dizajn zvuka / Sound design: Odín Acosta

Izvorni naslov / Original title: La Casa Triste

Produkcija / Production: Jóvenes Creadores FONCACONACULTA / Nahuyacafilms

Režija, Scenario, Animacija / Direction, Script, Animation: Sofia Carillo

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Cerulija Cerulia Jeziva priča o mladoj ženi i stravičnim sećanjima na detinjstvo, koja nastavljaju da je progone.

An eerie fable about a young woman’s repressed memories luring her back to her childhood home.

Meksiko / México, 2017, 13:00

Montaža / Editing: Uri Espinoza de los Monteros

Tehnika / Technique: Stop Motion

Dizajn zvuka / Sound design: Odín Acosta

Izvorni naslov / Original title: Cerulia

Produkcija / Production: IMCINE / Nahuyacafilms

Režija, Scenario, Animacija / Direction, Script, Animation: Sofia Carillo

Sofija Kariljo

Sofia Carrillo

ESTONSKI MAJSTORI ANIMACIJE: EESTI JOONISFILM

Projekcija i izložba

ESTONIAN MASTERS OF ANIMATION: EESTI JOONISFILM

Screening & Exibition

Duga tradicija estonske animacije seže u 30-e godine prošlog veka kada je osnovan Tallinnfilm, najstariji estonski filmski studio u kojem su nastajali prvi eksperimentalni filmovi uprkos drugom svetskom ratu, nemačkoj te sovjetskoj okupaciji koje su nastojale da guše kulturni razvoj zemlje. Animirani film je tek 1958. zaživeo u punom zamahu kada je Elbert Tuganov unutar Tallinnfilma osnovao odsek pod imenom Nukufilm u kojem su se snimali lutka i cut-out filmovi.

Rein Raamat je 1971. godine unutar istog studija osnovao Joonisfilm, odsek specijalizovan za tradicionalnu 2D animaciju. Od tada pa do današnjeg dana Eesti Joonisfilm poznat je kao jedan od najvažnijih pokretača jedinstvenosti savremene estonske animacije, s posebnim iskustvom stečenim kroz mnoge decenije rada s crtanom (cel) animacijom, a kasnije kompjuterskom 2D animacijom. Život pod sovjetskim režimom otežavao je umetnicima slobodu izražavanja, pa su morali tražiti dovitljive i devijantne načine ekspresije kako bi indirektno izrazili svoje ideje. Mnogi od reditelja bili su takođe karikaturisti koji su u političkim novinama kroz crteže kritikovali život pod okupatorskom čizmom, često sugerišući stvari na dvosmislen način. Takav specifičan pristup uveliko je vidiljiv i u filmovima, gde oni progovaraju kroz metafore, koristeći se nadrealističkom gramatikom i dvosmislenim poetskim stilom.

Početkom 90-ih, nakon raspada Sovjetskog saveza i ponovnog sticanja nezavisnosti Estonije, državno

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preduzeće Tallinnfilm Studio, pod kojim je Eesti Joonisfilm delovao pod državnom upravom, izgubilo je status državne organizacije koju je podržavala Moskva. Službeno je osnovan kao samostalni studio 22. decembra 1993. godine pod vlasništvom reditelja. Među vlasnicima su legendarni animatori i reditelji Priit Parn, Matti Kütt, Heiki Ernits i Janno Põldma. Tamo su takođe započeli karijeru Priit Tender, Ülo Pikkov i Kaspar Jancis. A Kalev Tamm je zauzeo poziciju producenta.

Kroz tokove burne i promenjive povesti estonska animacija je razvila jedinstven i prepoznatljiv jezik, zadržavši eksperimentalni duh. Iako je u geografskom smislu reč o maloj zemlji (1,2 miliona stanovnika), na svetskoj mapi animacije Estonija važi za itekako veliku zemlju. Iskustvo i ambicije Eesti Joonisfilma granaju se u dva smera – postignuta je ravnoteža u produkciji između visokokvalitetnih porodičnih filmova namenjenih širokoj publici i produkciji autorskih festivalskih filmova. Filmovi iz oba područja postigli su znatan međunarodni uspeh. Jedinstvenom karakteristikom estonske autorske animacije smatra se doslednost u primeni zajedničkog učinka karikature, apsurdnog humora i racionalnosti te razigranosti, individualnosti i višestrukog pristupa pričanju priča.

Po mišljenju kritičara, autori iz Eesti Joonisfilma decu tretiraju kao odrasle, a odrasle kao decu. Janno Põldma, Heiki Ernits i Andrus Kivirähk, autori filmova iz serije Lotte za decu i celu porodicu, postavili su sebi glavni zadatak u direktnoj suprotnosti sa standardima zabavne industrije. Njihov je cilj da stvore film iz isprepletenih priča, koji neprekidno zaokuplja pažnju dece i pruža im iznenađenja s važnim akcentom na poštovanju prirode i izbegavanju nasilja.

Eesti Joonisfilm

Od 2000. godine nadalje, studiju su se pridružili i autori poput Olge Pärn koja sarađuje sa suprugom Priitom Pärnom (Život bez Gabrielle Ferri, 2008, Ronioci na kiši, 2009), Martinus Klemet, Mattias Mälk, Helen Unt, Morten Tšinakov te autori iz drugih zemalja poput Francesca Rossa iz Italije i Lucije Mrzljak iz Hrvatske. Mnogi od njih bili su studenti profesora Priita Pärna na Estonskoj likovnoj akademiji (Eesti Kunstiakadeemia). U filmovima mlađe generacije može se isčitati uticaj tradicije estonske animacije, ali takođe i dašak nove, individualne kreativnosti.

Projekcija filmova studija Eesti Joonisfilm i izložba koja je prati, predstaviće publici festivala ANIMANIMA najrecentije filmove, nastale u poslednjih pet godina.

The long tradition of the Estonian animation dates back to 1930s, when the oldest Estonian film studio Tallinnfilm was founded. The studio sustained a production of early experimental films, despite the outbreak of World War Two and the suppression of the country’s cultural development during the German and Soviet occupation. It was not until 1958 that the animated film began to flourish, owing to the work of Elbert Tuganov, whose Nukufilm department within the Tallinfilm became the source of fruitful puppet and cut-out films. Joonisfilm, a department specialising in traditional 2D animation was set up within the same studio in 1971 by Rein Raamat. Ever since, the Eesti Joonisfilm has been known as a major catalyst of the unified Estonian animation, owing to its many decades’ comprehensive experience in the drawing (cel) animation and – later – computer 2D animation.

Faced with a restricted scope for free expression in the times of the Soviet regime, the artist resorted to resourceful and deviant ways of art creation, seeking indirect pathways for their ideas. Many of the film directors of this era were also caricaturists whose sketches criticised the life under the occupiers’ oppression, often in a purposefully ambiguous manner. This specific approach is also very apparent in films, using metaphors imbedded with surrealist grammar and poetic double meaning devices.

Following the disintegration of the Soviet Union at the start of 1990s and the restoration of Estonian independence, the previously state-owned Tallinnfilm Studio had lost their original status of a state-run enterprise and the support from Moscow.

Sharing the destiny of its parent studio, Eesti Joonsfilm was officially set up on 22nd December 1993 as the independent studio owned by the directors. Among these were some of the legendary animators and directors, including Priit Parn, Matti Kütt, Heiki Ernits and Janno Põldma. The studio 26 27

also provided a starting point in the careers of Priit Tender, Ülo Pikkov and Kaspar Jancis. The role of the producer belonged to Kalev Tamm.

Through the course of its turbulent and changing history, the Estonian animation has developed its own and recognisable language, while retaining the flare of its experimental spirit. While being relatively a small country in geographical terms (with 1.2 million inhabitants), Estonia takes a highly prominent place on the map of world animation. The experience and the ambitions of Eesti Joonisfilm today pursue two main directions, maintaining the balance between high quality family films for wide audiences and the auteur films featured at film festivals. Films from both streams have achieved significant international success. The Estonian auteur animation is uniquely characterised by a consistent impact of combined elements including caricature, absurd humour and sensibility juxtaposed with playfulness, individuality and a multi-layered narrative approach.

Estonian Arts Academy (Eesti Kunstiakadeemia).

Films made by the authors from the younger generation reflect the impact of the Estonian tradition, but also the spirit of new individualistic creativity.

The screening of the Eesti Joonisfilm films and the accompanying exhibition will present the ANIMANIMA audience with a chance to see the most recent films from the studio’s production over the past five years.

Lucija Mrzljak

It has been observed by the critics have observed that Eesti Joonisfilm authors tend treat children as grown-ups and grown-ups as children. The task that Janno Põldma, Heiki Ernits and Andrus Kivirähk, authors of films in the Lotte series for children and the whole family have set to themselves stands in direct opposition to the accepted standards of the entertainment industry. Namely, their goal is to create a film from interweaving stories, continually engaging and packed with surprises, while also focusing on respect for the nature and avoidance of violence.

In the period following 2000, a number of authors joined the studio, including indigenous authors such as Olga Pärn in collaboration with her husband Priit Pärn (Life without Gabriella Ferri, 2008, Divers in the Rain, 2009), Martinus Klemet, Mattias Mälk, Helen Unt, Morten Tshinakov, as well as authors from other countries such as Francesco Rosso from Italy and Lucija Mrzljak from Croatia. Many of these authors are former students of professor Priit Pärn at the

Eesti Joonisfilm

Lucija Mrzljak, ilustratorka, dizajnerka i rediteljka animiranog filma, rođena je u Zagrebu 1990. Studirala je na likovnim akademijama u Zagrebu, Krakovu, Pragu i Talinu. Magistrirala je animirani filma u Estoniji u klasi Priita i Olge Pärn. Još za vreme studija počela je da radi kao animatorka i rediteljka u renomiranom Eesti Joonisfilm studiju. Njeni studentski i profesionalni filmovi prikazivani su i nagrađivani na brojnim filmskim festivalima širom svijeta. U saradnji sa estonskim rediteljem Mortenom Tšinakovom režirala je film Demonstracija briljantnosti u četiri čina koji je osvojio brojne nagrade, među njima i grand prix na festivalu Etiuda&Anima u Krakovu, kao i nagradu za najbolji hrvatski film na zagrebačkom Animafestu. Režirala je i animirala muzički spot Irskog muzičara i oskarovca Glena Hansarda za pesmu The Closing Door 2018. godine. Lucija takođe radi kao freelance ilustratorka; ilustruje knjige za decu, poeziju, crta i karikature za političke magazine (Le Monde Diplomatique, News.cz). U Talinu je 2019. godine izdala prvu knjigu u saradnji sa piscem Tarmom Noormetsom koja je nagrađena kao najlepša kniga u Estoniji. Izlagala je ilustracije na brojnim grupnim izložbama u Hrvatskoj i inostranstvu (Bolonja, London, Moskva, Gdanjsk...).

Lucija Mrzljak is an illustrator, designer and animated film director. Born in Zagreb in 1990, she studied at the Art Academies in Zagreb, Krakow, Prague and Tallinn. She completed her MA studies of Animated Film in Estonia, under the mentorship of Priit and Olga Pärn. While still a student, she started her engagement as animator and director at the renowned Eesti Joonisfilm studio.

Her student and professional films have been presented and awarded at numerous film festivals around the world. Working together with the Estonian film director Morten Tshinakov, she directed the film A Demonstration of Brilliance in Four Acts, winner of numerous awards including the Grand Prix of the Etiuda&Anima Krakow festival, and the award for the best Croatian film at the Zagreb Animafest. In 2018, she directed and animated the music video for The Closing Door song by the Irish musician and Oscar winner Glen Hansard. Lucija also works as a freelance illustrator; she produces illustrations for children’s books and poetry pieces and she also draws caricatures for political magazines (Le Monde Diplomatique, News.cz). Her first book which she published in collaboration with the writer Tarmo Noormets in Tallinn in 2019 won the award for the most beautiful book in Estonia. She exhibited her illustration in a number of group exhibitions in Croatia and abroad (Bologna, London, Moscow, Gdansk...).

Lovac bez oka. Jedna Kanti priča The Eyeless Hunter. A Khanty Story Razjarena zbog muževljeve lenjosti, jedna lukava, prepredena žena ukrade njegovo oko dok se odmarao umesto da lovi.

Estonija / Estonia 2016, 3:48 Tehnika / Technique: Crtež / Drawing

Incensed at his laziness, a shrewd, cunning wife steals the eyes of her husband while he rests instead of hunting.

Priit Pärn je ključna figura savremene animacije Estonije, crtač i reditelj animacije čiji su filmovi požnjeli uspeh i među kritičarima i publikom na brojnim festivalima. Postao je 2006. direktor odseka za animaciju na Estonskoj akademiji umetnosti. Član je Evropske filmske akademije od 2008. godine.

Olga Pärn je animatorka i rediteljka animacije. Diplomirala je na Liceju umetnosti u Minsku i na Beloruskoj akademiji umetnosti, a bila je i vrhunski student filmske režije na čuvenoj školi La Poudrière u Francuskoj.

Priit Pärn is a key figure of contemporary Estonian animation, a cartoonist and animation director whose films have enjoyed success among critics as well as the public at various film festivals. In 2006, he became the director of the animation department of the Estonian Academy of Arts. He is a member of the European Film Academy as of 2008.

Olga Pärn is an animator and film director. She holds a degree from the Lyceum of Art in Minsk and the Belarus Academy of Art, and was a remarkable student in film directing of the famous La Poudrière school in France.

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Izvorni naslov / Original title: Silmadeta jahimees. Handi lugu Režija / Director: Priit Pärn, Olga Pärn Scenario / Script: Priit Pärn, Olga Pärn Animacija / Animation: Priit Pärn, Olga Pärn Dizajn zvuka / Sound Design: Horret Kuus Producent / Producer: Kalev Tamm Produkcija / Production: Eesti Joonisfilm

Jedači jagoda Strawberry Eaters Fantazija o dvoje odgajivača jagoda čija su polja uništili proždrljivi puževi. Ovaj par pokušava da započne novi život u gradu, ali kad žena obelodani da očekuje dete, paranoidni muškarac posumnja da puževi stoje i iza toga.

A fantasy film about two strawberry farmers whose field is destroyed by ravenous snails. The couple tries to start a new life in the city but when the woman announces they’re expecting a child, the paranoid man suspects that snails are behind that as well.

Animator Mattias Mälk (rođen 1987. godine) rediteljski debi imao je u studiju Eesti Joonisfilm sa filmom Northern Starfish iz 2014. godine, iza koga je kasnije usledio i film fantazije Strawberry Eaters (2018). Nakon što je diplomirao na Estonskoj akademiji umetnosti, Mälk je radio i kao umetnik na drugim projektima u Eesti Joonisfilmu. Bavi se i 3D animacijom, ilustracijom i animacijom karaktera.

Animator Mattias Mälk (born 1987) made his director’s debut in studio Eesti Joonisfilm with the film Northern Starfish (2014), followed later by the fantasy film Strawberry Eaters (2018). After graduating the Estonian Academy of Arts, Mälk has also worked as an artist on other Eesti Joonisfilm projects. He also does 3D, illustrations and character animation.

Eesti Joonisfilm

Estonija / Estonia 2018, 14:39 Tehnika / Technique: Crtež / Drawing Izvorni naslov / Original title: Maasikaõgijad Režija / Director: Mattias Mälk Scenario / Script: Mattias Mälk Animacija / Animation: Heta Jäälinoja, Paula Mauer, Mattias Mälk Dizajn zvuka / Sound Design: Horret Kuus Producent / Producer: Kalev Tamm Produkcija / Production: Eesti Joonisfilm

Kosmonaut Cosmonaut Jedan stari kosmonaut živi isti život i sada u svom stanu u zgradama od betona, kao nekada kad je bio mlad na svemirskoj stanici. Kao i pre, i dalje je u herojskim misijama i gubi bliske rođake ostavljajući ih iza sebe na rodnoj planeti. Jednom kosmonaut, uvek kosmonaut. Do samog kraja.

Estonija / Estonia 2019, 11:38

An old Cosmonaut lives the same kind of life now in his flat in a concrete panel apartment building as he did in his youth in a space station. As before, he still carries out heroic missions and misses his close relatives, who he left behind on his home planet. A cosmonaut will always be a cosmonaut. To the very end.

Režija / Direction: Kaspar Jancis

Kaspar Jancis je rođen u Talinu, 1975. godine. Na Pedagoški univerzitet u Talinu Kaspar se upisao 1996. godine, gde je napravio svoje prve filmove. Prešao je na Školu za umetnosti i medije u finskom gradu Turkuu 1997. godine gde je studirao animaciju pod vođstvom Priita Pärna. Debitovao je filmom Romance (1999).

Kaspar Jancis was born in Tallinn, 1975. He enrolled at the Tallinn Pedagogical University in 1996. where he completed his first films. He transferred from the Pedagogical University to the Turku Arts and Media School in Finland in 1997 to study animation under the guidance of Priit Pärn. He made his debut film Romance (1999) in Turku.

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Tehnika / Technique: Crtež / Drawing Izvorni naslov / Original title: Kosmonaut

Scenario / Script: Kaspar Jancis Animacija / Animation: Tarmo Vaarmets Dizajn zvuka / Sound design: Horret Kuus Montaža / Editing: Kaspar Jancis Producent / Producer: Kalev Tamm Produkcija / Production: Eesti Joonisfilm

Orfej Orpheus Orfej može da začara svakog svojom muzikom, uključujući životinje i biljke. Njegova pesma može da spase i njegovu voljenu Euridiku iz podzemnog sveta. Ali pod jednim uslovom – na putu do zemlje živih, Orfej se ne sme se osvrnuti da vidi da li ga njegova ljubav zaista sledi.

Orpheus can enchant everyone with his music, including animals and plants. His song can even rescue his beloved Euredice from the underworld. But there is one condition – until Orpheus reaches the land of the living, he cannot turn around to see if his love is truly following him.

Priit Tender je estonski animator, reditelj, dizajner i pisac scenarija većeg broja kratkih animiranih filmova. Negove autorske filmove pokreće nadrealna slikovnost, crni humor i tamna egzistencijalistička putovanja. Priitovi filmovi osvojili su priznanja i nominacije na mnogim značajnim festivalima animacije, uključujući Ansi, Hirošimu, Drezden, Fredrikštat, Utreht i druge. Priit je profesor i šef odseka za animaciju na Estonskoj likovnoj akademiji.

Priit Tender is an Estonian animator, director, designer and writer of many short animated films. His author films are driven by surreal imagery, black humor and dark existential journeys. Priit’s films have won prizes and nominations from the most important short and animation film festivals, including Annecy, Ottawa, Hiroshima, Dresden, Fredrikstad, Utrecht etc... Priit is a professor and head of Animation department at the Estonian Academy of Fine Arts.

Eesti Joonisfilm

Estonija / Estonia 2019, 12:48 Tehnika / Technique: Crtež / Drawing Režija / Direction: Priit Tender Scenario / Script: Priit Tender Animacija / Animation: Ülle Metsur, Tarmo Vaarmets, Maiken Silla, Dag-Ole Solaas Montaža / Editing: Priit Tender Dizajn zvuka / Sound design: Horret Kuus Producent / Producer: Kalev Tamm Produkcija / Production: Eesti Joonisfilm

Predodređen da umre Destined To Be Dead Tamo gde više nema tragova i visoko drveće obgrljuje ruševine, neko sedi, u pucketavoj travi miholjskog leta, i kaže mir samom sebi. Ono što se osećalo ne može se izbrisati, ali bledi u mudrosti budućnosti.

Možda nije zemaljski ovaj put kojim moram da idem, ali kako da znam da li uopšte podležem gravitaciji.

Estonija / Estonia 2018, 10:50

There, where there are no tracks anymore and the fallen trees embrace the rubble, someone sits; in the Indian summer’s crispy grass, and says peace unto himself. Things felt can not be erased, but they fade into wisdom for the future. Maybe it is not earthly this road i have to walk, but how can i know if i am subjected to gravitation.

Režija / Direction: Francecso Rosso

Francesco Rosso je umetnik rođen u Italiji koji sada živi u Talinu. U svom radu ispituje duhovne i fizičke aspekte svakodnevnog života kroz čin transformacije u vizualnu materiju. Rosso puno radi ručnu animaciju i spaja animirani materijal sa videom, filmom i fotografijom istražujući urbano i prirodno okruženje. Od 2014. radi za Eesti Joonisfilm, kao background artist, animator i reditelj kratkih filmova.

Francesco Rosso is an Italian-born artist based in Tallinn. Within his work he examines the spiritual and physical aspects of daily life through the act of transformation into visual matter. Rosso works a lot with handmade animation, and merges the animated material with video, film and photography exploring urban and nature enviroment. Since 2014 he has worked for Eesti Joonisfilm Studio as background artist, animator, and short-film director.

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Tehnika / Technique: Kombinovana tehnika / Diverse technique Izvorni naslov / Original title: Hukule Määratud

Scenario / Script: Francecso Rosso Animacija / Animation: Francecso Rosso Montaža / Editing: Sander Põldsaar, Francecso Rosso Dizajn zvuka / Sound design: Sander Põldsaar Producent / Producer: Kalev Tamm Produkcija Production: Eesti Joonisfilm

Roda The Stork Dok je pušio na balkonu, građanin udari Rodu u trenutku jasnoće i shvata da on nije čovek, nego ptica.

Estonija / Estonia 2020, 15:51 Tehnika / Technique: Crtež / Drawing

When smoking on the balcony, the citizen hits the Stork at the moment of clarity and realizes that he is not a human, but a bird.

Morten Tšinakov je rođen u estonskom gradu Viljandiju. Studirao je animaciju na Estonskoj akademiji umetnosti i napravio dva filma za to vreme. Od završetka studija radi za Eesti Joonisfilm.

Lucija Mrzljak je hrvatska rediteljka animiranih filmova i ilustratorka. Studirala je animaciju u Zagrebu, Krakovu, Pragu i Talinu. Posle sticanja diplome na Estonskoj akademiji umetnosti odlučila je da ostane u Talinu i da radi u Eesti Joonisfilm studiju. Pored animiranog filma, Lucija se bavi i ilustrovanjem knjiga za decu, a crta i karikature za političke magazine.

Morten Tšinakov was born in Viljandi, Estonia. Morten studied animation in Estonian Academy of Arts and made two films at the Academy. After graduating he has been working in Eesti Joonisfilm.

Lucija Mrzljak is a Croatian animation film director and illustrator. She studied animation in Zagreb, Krakow, Prague and Tallinn. After graduating from Estonian Academy of Arts she decided to stay in Tallinn and work in Eesti Joonisfilm studio. Besides animated films Lucija has made illustrations for children’s books and caricatures for political magazines.

Eesti Joonisfilm

Izvorni naslov / Original title: Toonekurg Režija / Direction: Morten Tšinakov & Lucija Mrzljak Scenario / Script: Morten Tšinakov Dizajn zvuka / Sound design: Horret Kuus Producent / Producer: Kalev Tamm Produkcija / Production: Eesti Joonisfilm

MIYU DISTRIBUTIONS: NOVA GENERACIJA MIYU DISTRIBUTIONS: A NEW GENERATION

Luce Grosjean je 2014. godine osnovala distibutersku kompaniju Sève Films, sa ciljem da na festivalima animacije promoviše filmove studenata i mladih talentovanih režisera. U partnerstvu koje je usledilo 2017. godine između Luce, njene kompanije Seve Films i Miyu Productions, nastala je kompanija Miyu Distribution. Specijalizovana za međunarodnu prodaju i distribuciju kratkih animiranih filmova, Miyu Distribution distribuira diplomske filmove vodećih škola animacije, kao i filmove nezavisnih kanala produkcije.

Odabrali smo iz bogatog kataloga ove poznate distributerske kuće filmove za specijalni festivalski program u okviru koga će se predstaviti diplomci francuskih škola animacije ENSI, Gobelins, ENSAD, kao i autori nekoliko nezavisnih studija. Odvažni, kreativni, sa istančanim osećajem i za dramski zaplet i za humorni geg, mladi autori na umetnički impresivan način ispituju samu suštinu procesa i estetike animiranog flma. Nova generacija je u akciji!

In 2014 Luce Grosjean founded Sève Films, a distribution company destined to promote student films in animation festivals, but also young talent directors. A partnership that had followed in 2017. between Luce and her company Seve Films, and Miyu Productions, created Miyu Distribution. Specialized in international sales and distribution of animation short films, Miyu Distribution distributes the graduation films of leading animation school as well as films from independant production structures.

Our selection from the comprehensive catalogue of this renowned distribution house is dedicated to the special festival programme and includes works of graduates from French animation schools ENSI, Gobelins, ENSAD, as well as authors from several independent studios. Daring, creative, with a refined sense of dramtic suspension and humorous gag, these young authors demonstrate an impressive artistic approach to the essence of animated film process and aesthetics. The new generation is on the go!

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01 Poslednji čin Dernier Acte 3D / 2019 / 7:40 Reditelji / Directors: Yohan Gantelet, Lucie Krencker, Clara Obeidi, Miguel Amendola-Borrallo, Antonin Geral-Aries, Geoffrey Rakotoarisoa Produkcija / Production: ENSI 02 Van igre Hors Course 3D / 2019 / 5:56 Reditelji / Directors: Martin Burnod, Aélis Ensergueix, Nicolas Lopez, Clément Masson, Julia Monti Produkcija / Production: ENSI 03 Đavo u džepu Un diable dans la poche 2D, fotografija, isečci 2D, Photography, Cut outs / 2019 / 5:39 Reditelji / Directors: Antoine Bonnet, Mathilde Loubes Produkcija / Production: Gobelins 04 Psi Dogs 2D / 2019 / 7:20 Reditelji / Directors: Benjamin Berrebi, Jakub Bednarz, Diego Cristófano, Théo Lenoble, Mohammad Babakoohi, Karlo Pavicic-Ravlic, Marthinus Van Rooyen Produkcija / Production: Gobelins

05 Hrpa Pile 3D / 2019 / 3:23 Reditelj / Director: Toby Auberg Produkcija / Production: Royal College of Art 06 Oluja La Tempête Crtež na papiru, 2D / Drawing on paper, 2D / 2019 / 6:01 Reditelj / Director: Astrid Guinet Produkcija / Production: ENSAD

07 Asmahan, Diva Asmahan la Diva Piksilacija, isečci / Pixilation, Cutout / 2019 / 6:03 Reditelj / Director: Chloé Mazlo Produkcija / Production: Causette Prod, Doncvoilà productions & Manuel Cam Studio 08 Dve ptice Deux oiseaux 3D / 2019 / 11:34 Reditelj / Director: Antoine Robert Produkcija / Production: Tu Nous ZA Pas Vus Productions & La Station Animation 09 Zima u kišnoj šumi Winter in the Rainforest Stop motion / 2019 / 8:35 Reditelj / Director: Anu-Laura Tuttelberg Produkcija / Production: Moon Birds Studios OÜ, Nukufilm, Carabás Estudio & Art Shot 10 Maestro Maestro 3D / 2019 / 1:34 Reditelj / Director: Illogic Produkcija / Production: Bloom Pictures

MIYU Distributions

GOVORNI PROGRAM ANIMANIMA TALKS

Upoznajte animatora: Sofija Kariljo (Meksiko) Meet The Animator: Sofia Carillo (Mexico) „Četrdeset minuta programa Upoznajte animatora sa pravom la mexicana“, poziva nas Sofija Kariljo da joj se priružimo na neobičnom putovanju, „Dosegnite suštinu kratkih animiranih filmova Prita Noire (Crna lutka), La Casa Triste (Tužna kuća) i Cerulia. Rođena sam u kući dvoje slikara, rana izloženost filmu Maskota Ladislasa Stareviča zapečatila je opčinjenost stop motion animacijom. Opraštanja, svođenja računa, ponovno pripovedanje porodičnih priča, sve to je kičma ova tri rada, gde je animacija lek, susret sa psihologom, čak i porodično sazvežđe. Skuvajte sebi kafu i pođite sa mnom u Mesiko.“

“Forty minutes of Meet the animator with la mexicana”, Sofia Carrillo invites us to join her at this unusual journey, “Meet the heart of the animated short films Prita Noire (black doll), The Sad House and Cerulia. Born in the house of a couple of painters, an early exposure to The Mascot of Ladislas Starewicz sealed the attraction to stop motion animation. Goodbyes, recapitulations, even recreations of family stories are the vertebral column of these three works, where animation is medicine, a session with the psychologist or even a family constellation. Prepare yourself a coffee and come with me to México.”

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Sofija Kariljo / Sofia Carrillo

Deca i film Children and Film Film za nas odrasle, a posebno za decu, ima veliku snagu. Ta samostalna umetnička vrsta na zanimljiv i privlačan način udružuje različite vrste umetnosti: likovnu, pozorišnu, muzičku. Ima visoku iskustvenu vrednost, kroz sadržaj snažnu socijalnu vrednost i kroz oblike važnu estetsku vrednost. Deca će gledajući filmove razvijati svoje kritičko mišljenje i osećaj za lepo, i osloboditi svoje kreativne sposobnosti. Ako filmove odaberemo u skladu s njihovim uzrastom, i na to iskustvo ih pripremimo, ako o njihovom doživljaju filma razgovaramo pre i posle projekcije, omogućujemo im najbolje moguće iskustvo koje neće brzo zaboraviti i koje će ih možda, barem neke od njih, pratiti do kraja života dok se budu uvek iznova rado vraćali u bioskop.

Film holds a great power for us grown ups, and an even greater one for children. This indigenous art genre has a unique, engaging and attractive way to combine different arts, from visual to theatre and music. It also has a high experiential value, manifesting its intrinsic social values through the content and its important aesthetic value through its form.

Watching films, children develop their critical thinking and the sense for things beautiful, releasing the potential of their creativity. Provided the choice of a film is made in accordance with the child’s age, and if we make sure the child is properly prepared for the experience and discuss their impression before and after the screening, there can be no doubt that we are providing them with the best possible experiences, not likely to be easily forgotten, but more likely to be remembered for the rest of one’s life, relived through multiple later visits to the cinema.

Mag. Martina Peštaj je urednica Programa za decu i mlade Televizije Slovenije, gdje je mnogo godina radila kao autorka, scenaristkinja i urednica mnogih emisija. Selektorka je stranih animiranih emisija i igranih serija za decu. Kao medijska psihološkinja i stručnjakinja za televiziju i film redovno sarađuje s Ministarstvom kulture i Ministarstvom obrazovanja Slovenije na različitim projektima. Surađuje s Logoutom – Centrom pomoći za prekomerno korišćenje interneta, vaspitno-obrazovnim programom Slon u sklopu Međunarodnog festivala animiranog filma Animateka u Ljubljani, a i selektorka je dečjeg programa zagrebačkog festivala Animafest. Predaje o deci, televiziji, filmu i internetu, objavljuje članke i učestvuje u istraživačkim projektima.

Martina Peštaj MA is the editor of the Children’s and Youth Programme of Slovenian Television, where she has spent many years working as author, screenwriter and editor of a number of shows. She is the selector for foreign animated and live feature series for children. As a media psychologist and expert for television and film, she collaborates on a regular basis with the Ministry of Culture and Ministry of Education of the Republic of Slovenia, regarding diverse projects. She also cooperates with the Logout centre for providing help to addictive Internet users, as well as with the ‘Slon’ educational programme within the Animateka international animation festival in Ljubljana and is the selector for the children’s programme at Animafest animation festival in Zagreb. Martina lectures on children, television, film and the Internet, and also publishes articles and takes part in various research projects.

Govorni program

Animanima TALKS

Martina Peštaj

Srpska animacija u zamkama ideologije Serbian Animation in the Snares of Ideology

Ovaj virtuelni okrugli sto bavi se nekim aspektima intrigantne teme čije se prisustvo može povremeno indikovati u dugom vremenskom rasponu, počev od 30-ih godina XX veka kada znameniti srpski književnik i diplomata Miloš Crnjanski poneseno prenosi utiske sa prvih projekcija zvučnih filmova u Parizu o Miki Mišu „koji pravi čuda na platnu“. Zanimljivi detalji ove priče su i ukaz o pokretanju Seminara za crtani film koji posle II svetskog rata potpisuje književnik nadrealista Aleksandar Vučo; pionirski poduhvati Nikole Majdaka i Borislava Šajtinca; uloga i uticaj Zagrebačke škole crtanog filma u kulturnom kontekstu bivše Jugoslavije; proganjanje autora i bunkerisanje filmova od strane državnog režima; kulturološke kataklizme 1990-ih godina u Srbiji, napokon i nova generacija autora koja na umetnički legitiman način prepoznaje diskrepance aktuelnog društvenog sistema.

This virtual roundtable discussion contemplates certain aspects of the intriguing topic, whose impact has been recognised with varying intensity over a very long time span, starting back in 1930s when the renowned Serbian writer and diplomat Miloš Crnjanski enthusiastically penned his impressions of the first screenings of sound films in Paris, with the notable mention of Mickey Mouse and his ‘wondrous feats on the screen’. From the decree ordering the initiation of the Cartoon Seminar singed by the surrealist writer Aleksandar Vučo after World War Two, to pioneering undertakings of Nikola Majdak and Borislav Šajtinac, to the role and impact made by the Zagreb School of Animation in the cultural context of the former Yugoslavia, to the government-driven oppression of authors and banning of films, all the way to the cultural cataclysm in Serbia during 1990s and the new generation of authors and their artistically legitimate exposure of the discrepancies in the current establishment.

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Srđan Radaković rođen je u Novom Sadu 13. avgusta 1977. godine. Završio je studije intermedijalne režije u Novom Sadu u klasi prof. Bore Draškovića, interdisciplinarne postdiplomske magistarske studije u Beogradu iz oblasti digitalne umetnosti, i odbranio doktorat iz istorije filma na Akademiji umetnosti u Novom Sadu. Predaje istoriju i tehnike animiranog filma na Akademiji umetnosti u Novom Sadu. Do danas je u pozorištu režirao dela Strindberga, Foa, Bernharda, Gombroviča, Pintera, Vladušića, Ljubinke Stojanović, kao i više kratkometražnih i srednjemetražnih dokumentarnih, igranih i animiranih filmova za koje je nagrađivan na domaćim i internacionalnim festivalima. Objavio je sledeće knjige: Dugi kadrovi (2012), Subverzivni animirani filmovi (2017) i O filmofiliji i filmofobiji (2019).

Srdjan Radakovic (born August 13, 1977 in Novi Sad, Serbia, ex Yugoslavia) is a film and theater director, animator, and film historian. He teaches courses in animation (history and techniques) at the Academy of Arts Novi Sad, University of Novi Sad, Serbia. So far he has directed several theater plays, short films, animated films, documentaries. He has published the following books: Long Takes (2012), Subversive Animated Films (2017) and On Filmophilia and Filmophobia (2019).

Srđan Radaković, autor knjige Subverzivni animirani film / author of Subversive Animated Film

Stevan Živkov je studirao u Bukureštu. Animiranim filmom profesionalno se bavi od 1975.

Autor je devet autorskih filmova za koje je dobio brojne nagrade u inostranstvu i na domaćoj sceni. Film Put bio je zvanično zabranjen u Jugoslaviji. Radio je na mnogim serijama, Digzvel (za Joram film iz Australije, 7 epizoda), Tomi i Oskar (za italijansku firmu Duga iz Rekanata, 40 epizoda lejauta), u nemačkom igrano-crtanom filmu Hačipu bio je glavni animator sa Veljkom Bikićem i kreator likova. Napravio je veliki broj reklamnih spotova kao autor i saradnik; radio je specijalne efekte i trikove u mnogim reklamama i spotovima, kao i na brojnim edukativnim projektima. Osim animacije bavi se i dizajnom.

After studying in Bucharest, Stevan Živkov has been a professional film artist since 1975. His opus includes nine auteur films, winners of multiple national and international awards. His film Road was officially banned in former Yugoslavia. He was engaged in the production of a number of series, including Digswell (Yoram Film from Australia, 7 epsiodes), Tommy and Oscar (for the Italian company Duga from Recanati, 40 episodes of layout), while he also featured as the main animator and character developer with Veljko Bikić in the German live action – animated film Hatchipoo. Both as the author and collaborator, he produced a large number of commercials and a number of special effects and tricks in different commercials and videos, including a number of educational projects. In addition to animation, Stevica is a design artist.

Stevan Živkov, reditelj animacije i animator / animation director and animator

Ana Nedeljković rođena je 1978. godine u Beogradu. Diplomirala je i doktorirala slikarstvo na Fakultetu likovnih umetnosti u Beogradu. Bavi se animiranim filmom, vizuelnom umetnošću i edukacijom u oblasti savremene umetnosti. Njen prvi film Rabbitland (režija Ana Nedeljković, Nikola Majdak) na Berlinalu je nagrađen Kristalnim medvedom, prikazan je na preko sto festivala širom sveta, a osvojio je i brojne druge nagrade. Njihov drugi zajednički film takođe je prikazan na brojnim festivalima uključujuči Berlinale, Annecy i Sundance, kvalifikovan je za Oskara i nominovan je za Annie nagradu. U okviru Rabbitland studija realizuju i brojne komercijalne animirane projekte i radionice animiranog filma, a trenutno rade na novom filmu O novcu i sreći.

Ana Nedeljković was born in Belgrade in 1978. She graduated from and completed her doctorate studies at the Faculty of Fine Arts in Belgrade. Her scope of work includes animated film, visual arts and education in the sphere of modern art. Her first film, Rabbitland (directed by Ana Nedeljković, Nikola Majdak) was awarded with the Berlinale’s Crystal Bear, and went on to be screened at over a hundred festivals around the world, receiving numerous other awards. The second film of the same duet of authors was also presented in numerous world festivals, incliuding Berlinale, Annecy and Sundance, qualifying for Oscar and being nominated for the Annie award. Witin the regular activity at the Rabbitland Studio, they are engaged in a number of commercial and animated film projects. They are currently working on their new film titled On Money and Happiness (O novcu i sreći).

Govorni program

Animanima TALKS

Ana Nedeljković, vizuelna umetnica i animatorka / visual artist and animator

OD MITA DO BURLESKE: NOVI SRPSKI ANIMIRANI FILM FROM MYTH TO BURLESQUE: NEW SERBIAN ANIMATED FILM

tkanina. Iz ovog animiranog univerzuma zrači ženska rafiniranost, tankoćutnost i odvažnost.

Ako je suditi po fimovima u ovom izboru, aktuelni trenutak srpske animacije je živopisan i nadasve privlačan mozaik ideja, estetičkih i poetičkih pristupa, iza kojih stoje autori različitih generacija. Uz dragocenu podršku Filmskog centra Srbije dobili smo još nekoliko sjajnih naslova koje očekuje uzbudljiv festivalski život.

Narodna priča Đevojka brža od konja poslužila je kao predložak za scenario filma Trkija Marije Vulić.

Hirovita vila izaziva prosce na trku, ona na svojim nogama, oni na konjima. Ko pre do zlatne jabuke, a koji je pretekne, biće joj muž; sukob ženskog i muškog principa večna je tema, kao i neizvesna potraga za lepotom, koju simbolički potvrđuje zagonento iščeznuće nesuđene neveste na kraju. Marija Vulić dinamičnu fabulu umešno vizuelizuje fascinantnom animacijom starinskih upotrebnih predmeta (pegla na žar, vretena, preslice) i vezom, uprizorujući dramatične scene na pozadinama od ručno rađenih 40 41

Glavni junak filma Hronika jednog putovanja Stevana Živkova zaglavljen je na opskurnoj železničkoj stanici usred ničega. Vozovi retko prolaze, a ako i naiđu, on iz raznih razloga ne uspeva da se ukrca. Kao igračka u nečijim rukama, njegova sudbina sve manje zavisi od njegove volje. U prvom delu fima, Živkov se opredelio za čist, linearan crtež, lišavajući se boje u korist sugestivnog kjaroskura koji dodatno akcentuje snažnu, narastajuću napetost iako sve liči na burlesku. U drugom delu, scena u staničnom bircuzu je u koloru, na delu je brehtijanska karnevalizacija: glavnom junaku treba odagnati crne misli, jer voz koji možda više nikada neće doći postaje simbol začaranog kruga, a Hronika jednog putovanja gorko-ironična pripovest o dubokoj egzistencijalnoj krizi.

Mina Cvetinović, ekspert za specijalne efekte i kompujtersku grafiku, ovog puta je svoj rediteljski fokus usmerila na animaciju lutaka. Handmade je priča o simpatičnoj starici, vlasnici male prodavice kožne galanterije u koju mušterije ulaze, ali neke više nikad ne izađu iz nje. Kao i u antologijskom filmu Sylvaina Chometa Starica i golubovi (La vieille dame et les pigeons, 1997), kontrast između krhke stare dame

i njenih neočekivanih nepočinstava nedvosmisleno upućuju na žanrovske matrice crne komedije i horora u službi efektne fabule.

Prepoznatljiv vizuelni izraz animatora Vuka Palibrka crpi energiju iz samog bića animacije, odnosno transformacije kao estetičkog oblikovnog principa. U Dnevniku od blata, ulančavanjem gegova nastalih kao posledica slobodnog asociranja, ova anarhoidnost, to jest nepredvidljiv odnos sadržaja i forme, jasno je vidljiva. Bizarno i groteskno vrhune u trenucima kada ispovedna forma intimnog dnevnika otklizava u opscenost; poetika preterivanja i iščašen humor zaošijani fluidnom animacijom čine Dnevnik od blata svojevrsnim autorovim ludičkim manifestom.

Svetlosti i senke Rastka Ćirića, motivska je stilizacija legende o čoveku koji je zbog žudnje za neograničenim znanjem i ovozemaljskim moćima dušu prodao đavolu, a interpretativni nivo filma bazira se na pozorištu senki. Iz ove dve premise jasan je Ćirićev dinamičan i aktivan odnos prema književnoj (J. F. Goethe) i filmskoj (Lotte Reininger) tradiciji. Autorska nadgradnja motiva očita je u smeloj, igrivoj ideji o rukama koje su u ovom crtanofilmskom komadu dramatis personae. Štaviše, rukama iste osobe, anonimnog izvođača teatra senki, gde je desnoj ruci dodeljena uloga Fausta, a levoj Nečastivog. Njihove senke izvode složenu predstavu o neumerenosti želje i posledičnom moralnom posrnuću. Ćirićev likovOd mita do burleske

From Myth to Burlesque

ni jezik u filmu Svetlosti i senke, karakterisitičan za njegov ilustratorski rad, izdašno doprinosi svežini i sugestivnosti vizuelne naracije.

If the films included in this selection are anything to go by, then the current moment of Serbian animation can be viewed as a vivid and above all enticing mosaic of ideas, aesthetic and poetic approaches, involving authors from different generations.

With the precious support from the Serbian Film Centre, we have obtained the few extra titles destined for exciting festival life in the years to come.

The traditional Serbian folk tale Girl Faster than the Horse was used as a template for the scenario of Elusiveness, a film by Marija Vulić. The capricious fairy challenges the suitors to a race in which she runs and they ride horses. The one who first reaches the golden apple and gets ahead of her, will be her husband: the eternal topic of the conflict between the female and the male principle, as well as the uncertain search for beauty, symbolically emphasised by the mysterious disappearance of the would-be bride at the very end. The dynamic fable is artfully visualised by Marija Vulić’s fascinating animation of ancient utility items (charcoal iron, spindle, distaff) and embroidery, creating images of dramatic scenes on backgrounds composed of hand-woven materials.

This animated universe radiates the refined female touch, subtlety and daring.

The hero of the Chronicle of a Journey by Stevan Živkov is stuck at an obscure train station in the middle of nowhere. What is more, he is unable to board the odd passing train that does stop at this desolate place. His destiny is revealed as increasingly independent of his own will. In the first part of the film, Živkov chooses the clear linear drawing, giving way to the suggestive chiaroscuro and underlining the increasingly strong tension, counter-balanced by overall burlesque-like overtone. In the second part, there is a colour scene at the station bar, perpetrating carnival-like Brechtian development: the hero is in need of chasing away the dark thoughts, since the train that may never come again is becoming a symbol of a vicious circle, turning the Chronicle of a Journey into a bitter-ironic tale of deep existential crisis.

Mina Cvetinović, expert in special effects and computer graphics, has this time turned the focus of her directing to puppet animation. Handmade is a story of a charming old lady, owner of a small leather accessories shop, where some of the clients enter never to come out again. Like in Sylvain Chomet’s anthological film The Old Lady and the Pigeons (La vieille dame et les pigeons, 1997), the contrast between the fragile old lady and her unsuspected villainy is a tell-tale sign of the genre matrix of dark comedy and horror serving the purpose of effective narrative.

The recognisable visual expression of animator Vuk Palibrk draws its power from the very quintessence of animation, i.e. from the transformation as the aesthetically shaped principle. In the Mud Chronicle, the chain-linking of gags derived from free association, this anarchoid phenomenon, i.e. the

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unpredictable relation between the content and the form becomes clearly visible. The bizarre and the grotesque reach the climax at moments when the confessionary form of the intimate diary slips into obscenity; the poetic of exaggeration and the disjointed humour swirled by the fluid animation, all of these make the Mud Chronicle a kind of the author’s ludist manifest.

Lights and Shadows by Rastko Ćirić, is motif-wise a stylisation of the legend about the man whose desire for unlimited knowledge and earthly powers leads him to sell his soul to the devil, with the interpretation level of the film based on the shadow play. These two premises are a clear indication of the author’s dynamic and active relation towards the literary (J. F. Goethe) and film (Lotte Reininger) tradition. The author’s elaboration of the motif is visible in the daring, playful idea of the hands, rendered to dramatis personae in this animated piece. What is more, the hands belonging to the same person, the shadow play performer, have been assigned opposing roles, with the right one playing Faustus, and the left one taking the role of the Devil. Their shadows are engaged in performing the complex play on the surfeit of desires and the ensuing moral downfall. The art language used by Ćirić in the film Lights and Shadows is typical of his work as illustrator, making a generous contribution to the freshness and suggestiveness of the visual narrative.

Nebojša Petrović visuanil umetnik i animator / visual artist & animator

Hronika jednog putovanja Chronicle of a Journey Odlazak iz neke sredine nije lak, bez obzira na to što na izgled postoji bezbroj mogućnosti. Kako se izboriti i kako pobediti? Ponekad se to dogodi, a često ne. I nevažno je da li su nas sprečile okolnosti ili smo sami pogrešili.

Leaving one’s surrounding is never easy, despite the apparent countless opportunities that lie ahead. How to get round it and how to win?

It may all work well sometimes, but it simply doesn’t most of the times. When failure strikes, it does not matter whether we blame the circumstances or ourselves.

Srbija / Serbia 2020, 5:21 Tehnika / Technique: Crtež / Drawing Režija / Direction: Stevan Živkov Scenario / Script: Stevan Živkov Animacija / Animation: Stevan Živkov Montaža / Editing: Miloš Živkov

Stevan Živkov je studirao u Bukureštu. Animiranim filmom profesionalno se bavi od 1975.

Autor je devet autorskih filmova za koje je dobio brojne nagrade u inostranstvu i na domaćoj sceni. Radio je na mnogim serijama, Digzvel (Australija), Tomi i Oskar (Italija), Hačipu (Nemačka, glavni animator sa Veljkom Bikićem i kreator likova). Napravio je veliki broj reklamnih spotova kao autor i saradnik.

After studying in Bucharest, Stevan Živkov has been a professional film artist since 1975. His opus includes nine auteur films, winners of multiple national and international awards. He was engaged in the production of a number of series, including Digswell (Australia), Tommy and Oscar (Italia), Hatchipoo (Germany, main animator and character developer with Veljko Bikić). Both as the author and collaborator, he produced a large number of commercials.

Od mita do burleske

From Myth to Burlesque

Dizajn zvuka / Sound design: Zoran Uzelac Produkcija / Production: Miloš Živkov PR agencija za proizvodnju kinematografskih dela Beograd

Handmade Handmade Ne postoji mušterija, a naročito ne među ljubiteljima slatkiša, koja bi mogla da odoli simpatičnoj baki koja prodaje predivne odevne predmete od kože u maloj simpatičnoj prodavnici. Još ako bi se do kraja prepustili njenim veštim rukama i na trenutak kročili iza zavese...

Hardly any customer, especially if they have a sweet tooth, can resist the lovely granny who sells the most beautiful leather garments in her charming little store. If only they would give themselves over to her crafty hands, and go behind the curtain...

Mina Cvetinović (1985) je vanredni profesor Animacije i vizuelnih efekata na Umetničkoj akademiji u Novom Sadu. Njen animirani film Kafana osvojio je nagradu kao najbolji studentski film 2008. godine na međunarodnom festivalu animiranog filma Balkanima u Beogradu. Učestvovala je u realizaciji više od 40 CGI promotivnih filmova i projekata. Bila je deo tima za vizuelne efekte u trinaest dugometražnih igranih filmova (Na Mlečnom putu E. Kusturice i Sunčanica N. Mihalkova).

Mina Cvetinović (1985) is a Associate Professor in the field of Animation and VFX at the Academy of Arts in Novi Sad, Serbia. Her animated film Tavern won award for the best student film at international animated film festival Balkanima 2008, Belgrade, Serbia. She has participated in the realization of over 40 promotional films and projects that contained CGI. She was a member of a visual effects team making thirteen feature-length live action films (On the Milky Road by E. Kusturica; Sunstroke by N. Mikhalkov)

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Srbija / Serbia 2020, 6:08 Tehnika / Technique: Animacija lutaka / Puppet animation Režija / Direction: Mina Cvetinović Pavkov Scenario / Script: Katarina Todorović Animacija / Animation: Dunja Đorđević, Ana Irga, Darko Subotin Dizajn zvuka / Sound design: Jovan Živković Produkcija / Production: Nezavisni filmski centar Kino Klub Novi Sad

Svetlosti i senke Lights & Shadows Predstava pozorišta senki o čoveku koji je prodao svoju senku đavolu. Đavo nudi tri večne čovekove težnje: strast, vlast i znanje. Glavni junaci su dve ruke jednog čoveka. Ruka bez senke nije više čovek nego samo ruka, a senka bez ruke nije više od opsene.

Shadow play performance on a man who sold his shadow to the Devil. The Devil offered three eternal human desires: passion, power and knowledge. The main heroes are the two arms of a man. The arm without the shadow is no longer a man, it is just an arm; the shadow without the arm is but an illusion.

Srbija / Serbia 2020, 10:22 Tehnika / Technique: Crtež / Drawing Režija / Direction: Rastko Ćirić Scenario / Script: Rastko Ćirić Animacija / Animation: Rastko Ćirić Montaža / Editing: Svetolik Mića Zajc

Rastko Ćirić (1955, Beograd) je redovni profesor na Fakultetu primenjenih umetnosti u Beogradu za predmete Ilustracija i Animacija. Prorektor Univerziteta umetnosti u Beogradu. Osnivač predmeta Animacija i Studija za animaciju FPU (2006). Rukovodilac Programa za digitalnu umetnost na Interdisciplinarnim doktorskim studijama Univerziteta umetnosti u Beogradu (od 2005). Autor 15 animiranih filmova.

Rastko Ćirić (1955, Belgrade) is a full-time professor at the Faculty of Applied Arts in Belgrade, where he teaches Illustration and Animation. He is the prorector of the University of Arts in Belgrade and the founder of the faculty courses for Animation and Animation Study (Faculty of Applied Arts, 2006). He is also the head of the Digital Art Programme at inter-disciplinary doctorate studies of the Belgrade Arts University (since 2005). Rastko is the author of 15 animated films.

Od mita do burleske

From Myth to Burlesque

Dizajn zvuka / Sound design: Svetolik Mića Zajc Produkcija / Production: SENSE Production

Trkija Elusiveness Animirani film Trkija po motivima pripovetke Devojka brža od konja bavi se fenomenom lepote i večite čežnje za njenom spoznajom. U središtu priče je predanje o pokušaju da se lepa devojka zadobije pobedom na trci.

Animated film Elusiveness, based on an old Serbian fairy tale A Girl Faster Than A Horse, is a story dealing with the phenomenon of beauty and an eternal longing for obtaining it. At the heart of the story is a quest to catch a beutiful girl by winning a race full of obstacles.

Srbija / Serbia 2020, 7:13 Tehnika / Technique: Animacija predmeta / Object animation Režija / Direction: Marija Vulić Scenario / Script: Marija Vulić (based on an old Serbian fairy tale A Girl Faster Than A Horse) Animacija / Animation: Marija Vulić, Isidora Vulić

Marija Vulić je diplomirala na odseku Primenjeno vajarstvo Fakulteta primenjenih umetnosti u Beogradu. Od 2007. uređuje likovni program u Kulturnom centru "Svetozar Marković" u Jagodini, gde i radi sa decom polaznicima škole animiranog filma. Osnivač i programski urednik Animator festa, evropskog festivala animiranog filma dece i mladih.

Marija Vulić graduated at Faculty of Applied Arts in Belgrade, department Applied Sculpting. As of 2007 she is working as an art curator in the Cultural Centre ’Svetozar Marković’ in Jagodina, where she started in the same year the School of Animated Film. Founder of ‘JAFILM’, and the art director of Animator Fest, European Youth Festival of Animated Film.

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Montaža / Editing: Marija Vulić Dizajn zvuka / Sound design: Saša Čirkov Produkcija / Production: "Jafilm" Jagodina

Dnevnik od blata Mud Chronicle Kompilacija kratkih doživljaja i impresija inspirisanih autorovom svakodnevnicom, pretočena u oblik nadrealnog animiranog dnevnika.

Srbija / Serbia 2020, 9:46 Tehnika / Technique: Crtež / Drawing

A compilation of short experiences and impressions inspired by the author’s daily life, transformed into a shape of a surrealistic animated diary.

Vuk Palibrk se bavi ilustracijom, stripom i animacijom. Diplomirao je na Fakultetu primenjenih umetnosti u Beogradu na smeru ilustracija. Trenutno pravi kratke animacije i stripove koje s vremena na vreme objavljuje na internetu.

Vuk Palibrk is an illustrator, comic artist and animator. He graduated from the Faculty of Applied Arts in Belgrade, Department for Illustration. He is currently engaged in animation shorts and comics, which he publishes online from time to time.

Režija / Direction: Vuk Palibrk Scenario / Script: Vuk Palibrk Animacija / Animation: Vuk Palibrk Montaža / Editing: Miloš Gojković Dizajn zvuka / Sound design: Miloš Gojković Produkcija / Production: Studio Gojko

Od mita do burleske

From Myth to Burlesque

Uvek je prava avantura zaviriti u gotovo nesamerljiv katalog portala STASH TV iz Toronta. U najvećoj svetskoj onlajn videoteci animacije, specijalnih efekata i moušn dizajna je na hiljade animiranih reklama, muzičkih videa, kratkih fimova i pratećih materijala vezanih za produkciju i srodne oblasti. Posebno je uzbudlivo uhvatiti naoko nevidljivu crvenu nit koja otkriva veze između pojedinih animiranih radova i posledična značenja. U ovom ciklusu nastalom na ideji o hrani i piću kao objektima reklame nisu samo pozivi na kupovinu ili atraktivan kontekst nekog brenda, već posredstvom kompleksne naracije i vizuelnog jezika oni transcendiraju poruke višeg značenja. Zaista, hrana i piće nisu samo zona čulnog, priča o hedonizmu, zabavi i ovozemaljskom, ili kako u knjizi La raison gourmande kaže francuski filozof Michel Onfray, efemernom zadovoljstvu. Da, proizvod je „upakovan“ u narativ o harmoničnoj porodici, o bezuslovnoj ljubavi, prijateljstvu, osećaju zajedništva, pravde, morala, ali, svako vreme, današnje naročito, postavlja i škakljiva pitanja: Šta je sa subverzivnom filozofijom fast food-a?

Sa pravima životinja? Samoodrživom organskom proizvodnjom? Prekomernom konzumacijom? Dakle, jedite, pijte i – razmišljajte!

STASH: JEDI, PIJ, MISLI! STASH: EAT, DRINK, THINK!

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It is always a true adventure, to delve into the almost immeasurable catalogue of the STASH TV portal from Toronto, Canada.

The world’s largest online video archive of animation, special effects and motion design contains thousands of animated commercials, music videos, shorts and accompanying materials related to production and affiliated areas. A source of special excitement is trying to track the apparently invisible fil rouge exposing the links between certain animated films and the ensuing meanings. Bits shown in this cycle based on the idea of the food and drink as objects of advertising go beyond ordinary invitations to buy and transcend the mere attractive context of a brand, using complex narration and visual language to convey messages of a higher meaning. Indeed, food and drink are not bounded by mere senses in a straightforward tale of hedonism, fun and earthly pleasures, or the ephemeral pleasure, to use a quotation from the book La raison gourmande by the French philosopher Michel Onfray. What we have here is product ‘wrapped’ in the narrative about a harmonious family, unconditional love, friendship, sense of unity, justice and moral.

However, each epoch – and the one of today being no exception – poses some delicate questions as well: What about the subversive philosophy of fast food? What about the animal rights? And the sustainable organic production? Excessive consumption? So, do eat, drink and - think!

01 Nestle “First Family” Direction: Manddy Wyckens, Mark Craste Animation: Studio AKA 02 5 Star Direction: Mateus De Paula Santos, Nando Cohen Animation: Lobo 03 Absolut “A Drop of Love” Direction: Futuredeluxe Animation: Futuredeluxe 04 Corona “La Cerveza Mas Fina” Direction: Nicolas Ménard Animation: Nexus Studios 05 Skol “Drink Right F*Ck Right” Direction: Ralph Karam Animation: Le Cube 06 Impact “Pizza Forever” Direction: Daniel Elwing, Kelly Meador Animation: Impactist

11 Mountain Dew “Green Means Go” Direction: Robert Sethi Animation: The Mill

16 Aldi “Greatest Show” Direction: Todd + Kylie Animation/VFX: Psyop

12 How to Make Sushi Direction: Jonathan Lindgren Animation: Jonathan Lindgren

17 Poulehouse “Solidarity Hens” Direction: Akama Animation: NKI

13 JIF “Bunker” Direction: Wayne McClammy VFX: The Mill

18 Followfood “In Your Hands” Direction: Ralph Karam Animation: Le Cube

09 Fruitless Direction: Yeti Pictures Animation: Yeti Pictures

14 Chobani “Impact” Direction: Mateus De Paula Santos, Fabio Acorsi Animation: Lobo

19 Ketel One “The Journey” Direction: Niceshit Studio Animation: Niceshit Studio

10 Ballantines “Too Good to Hide” Direction: Found Studio Animation: Found Studio

15 Plaisir Sucre Direction: Megacomputeur Animation: Passion Animation Studios

07 Peter’s Proud & Punch Direction: Softly Dunstan, Darren Price Animation: Mighty Nice 08 Mate Direction: Buda Animation: Buda

20 Postmates “When All You Can Burger Is Think About” Direction: The Sacred Egg VFX: MPC 21 Wagamama “Bowl to Soul” Direction: Mads Broni Animation: Passion Animation Studios 22 “0% Food” Direction: Lukas Vojir Animation: XK STUDIO 23 Coca-Cola “Open” Direction: Steve Rogers VFX: TIME BASED ARTS 24 Babybel “Join the Goodness” Direction: Hervé De Crécy Animation: Platige Image 25 Budvar “B33” Direction: Wolfberg VFX: PFX PRAGUE

STASH: Jedi, pij, misli!

STASH: Eat, Drink, Think!

Šta povezuje jedan od najlepših animiranih filmova svih vremena Ježić u magli (Hedgehog in the Fog, 1975) slavnog reditelja Yurija Norsteina sa filmovima iz serije o stvorenjcu Čeburaški (1969-1983) koji su obeležili detinjstvo više generacija? Studio u kome su nastali, studio animacije iz Moskve, Sojuzmultfilm. Pokrenut je 1936. godine kao državno preduzeće i od tada je pod njegovim okriljem nastalo više od 1500 crtanih filmova. Majstori animacije ovog studija uspešno keriraju i animirane TV serije, kratkometražne i dugometražne filmove, različitih žanrova, uz korišćenje širokog spektra animacijskih tehnika, od ručno crtane, preko animacije gline, stop-motiona, do digitalne 2D i 3D animacije. Čuvena „Zlatna kolekcija“ Sojuzmultfilma okupila je najbolje radove svetski poznatih reditelja i animatora i smatra se klasikom u oblasti animiranog filma. Dugometražni film Hoffmaniada (2018) Stanislava Sokolova, zasnovan na pričama E.T.A. Hofmana, predstavlja remek-delo lutkarske animacije. Sojuzmult film radi punom parom već više od osam decenija, njegovi crtači-pripovedači su neumorni, a filmovi putuju po svetskim festivalima.

Ova kolekcija kratkih filmova odabranih iz kataloga renomiranog studija stigla je i do najmlađih Animaniminih gledalaca.

Program za decu

SOJUZMULTFILM: PRIČE ZA VELIKU I MALU DECU Animanima KIDS

SOYUZMULTFILM: TALES FOR THE CHILDREN, BIG AND LITTLE

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What is the connection between one of the loveliest animated films of all times, Hedgehog in the Fog (1975) by the famous director Yuri Norstein, and the films from the Cheburashka series (1969-1983) about a little creature that has marked the childhood of several generations? The connection is the place of their origin, the Soyuzmultfilm studio in Moscow. Initiated in 1936 as a state-owned enterprise, it has become an establishment within which more than 1500 animated films have been made to date.

Animation masters from this studio have contributed a number of animated TV series, short and full-feature animated films of various genres, using a wide range of animation techniques from hand-drawing to clay animation, to stop-motion, to 2D and 3D digital animation. The famous ‘Golden Collection’ of the Soyuzmultfilm studio contains the best works of the world-famous directors and animators and is rated as animation film classic piece. The full-feature animated film Hoffmaniada (2018) by Stanislav Sokolov is based on tales by E.T.A. Hoffman and represents a master-piece of puppet animation. Soyuzmultfilm has maintained a full-scale operation for more than eight decades, with its tireless illustrators-narrators keeping steady supply of award-winning films featured in festivals around the world. This collection of animated shorts selected from the catalogue of the renowned studio has found its way to the youngest visitors of the Animanima festival.

Čovek jabuka Apple Tree Man

Veliko i malo Big and Small

Alla Vartanyan, Russia, 2020, 10:43

Natalia Grofpel, Russia, 2020, 6:00

U nekim delovima Engleske i Škotske, najstarije drvo jabuke u vrtu su nekada nazivali Čovek jabuka.

Dečji džepovi mogu biti poprište neverovatnih dešavanja.

In some parts of England and Scotland, the oldest apple tree in the garden was called the Apple Tree man.

Children’s pocket can be a place incredible events.

Ćebe Blanket

Sedam mališana The 7 Kids

Marina Moshkova, Russia, 2020, 5:35

Marina Karpova, Russia, 2020, 5:20

Daleko, daleko na Severu, živi jedan jako, jako mrzovoljan Polarni medved. Jednoga dana dobija neočekivanog posetioca...

Smešna priča u tehnici trik animacije, zasnovana na priči “Vuk i sedam jarića”.

In the far far North lives a very very grumpy Polar Bear. One day he receives an unexpected visitor...

Program za decu

Animanima KIDS

The funny trick story based on “The Wolf and the Seven Young Goats” fairytale.

Igra The Game

Noćna bajka The night fairytale

Elena Kurkova, Russia, 2020, 3:10

Maria Stepanova, Russia, 2020, 6:00

Jednog vrelog toplog dana, životinje se dosađuju...

Čuda u Novogodišnjoj noći dešavaju se čak i u životu jednog mačeta.

Once on a hot summer day, animals were bored...

Even in life of a little cat miracles can happen on New Year’s Eve.

Veštica i beba The Witch & the Baby

Topla zvezda Warm star

Evgenia Golubeva, Russia, 2020, 4:45

Anna Kuzina, Russia, 2020, 4:29

Ostareloj veštici je potrebna beba da bi izvela čaroliju koja će joj vratiti mladost. Ali, kada donese kući malenu princezu, stvari izmiču kontroli.

Ptica zadužena za održavanje nebeskog reda slučajno ispušta zvezdu tokom čišćenja. Zvezda pada na zemlju, gde je ubrzo pronalaze deca.

An ageing witch needs a baby for a spell to make her young again. But when she brings home an infant princess things don’t go to plan.

A bird that keeps order in the sky accidentally drops a star during cleaning. And on the earth, children find her.

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Program za decu / Animanima KIDS

Čuvena invazija medveda na Siciliju The Bears’ Famous Invasion of Sicily Dugometražni film / Feature Film Naša priča započinje sa Toniom, sinom Kralja medveda, koji postaje žrtva otmice lovaca u planinama Sicilije. Suočen sa ekstremno hladnom zimom i opasnošću od gladi koja preti da ugrozi njegovo pleme, Kralj medveda odlučuje da zaposedne zemlju ljudi (gde se nada da će pronači svog sina). Zahvaljujući svojoj moćnoj vojsci i pomoći čarobnjaka, uspeva da obavi obe misije. Ipak, uskoro će otkriti da zemlja ljudi nije najpodesnija za život medveda.

Our story starts with Tonio, the son the bears King, being kidnapped by some hunters in the Sicilian mountains. Because of the harshness of a winter that threatens its clan with famine, the Bear King decides to invade the land of men (in the hope of finding his son). Thanks to his powerful army and the help of a wizard, he will succeed at both quests but he will soon find out that bears are not meant to live in the land of men.

Scenario / Script: Thomas Bidegain, Jean-Luc Fromental, Lorenzo Mattotti Režija / Direction: Lorenzo Mattotti Montaža / Editing: Sophie Reine Zvuk / Sound: Piste Rouge Originalna muzika / Original music: René Aubry Glasovi / Serbian version with voices of: Stevan Piale, Đurđina Radić, Aleksandar Lazić, Pavle Jerinić, Nenad Bradaš, Novak Ašković Produkcija / Production: Prima Linea Productions - Pathé Films France 3 Cinéma - Indigo Film

Program za decu

Animanima KIDS

Index filmova Index of Films

’0% Food’...................................................49 5 Star........................................................49 7 Kids, The................................................ 51

Empty Places...........................................09 Eyeless Hunter, The................................28

N F

A Aldi ’Greatest Show’.................................49 Absolut ’A Drop Of Love’..........................49 Altötting.................................................... 11 All Her Dying Lovers ............................... 18 Apple Tree Man........................................ 51 Arka........................................................... 10 Asmahan la Diva.....................................39

Flesh......................................................... 19 Followfood ’In Your Hands’.....................49 ’Fruitless’..................................................49 G Game, The.................................................52 H

B Babybel J’ oin The Goodness’..................49 Ballantines ’Too Good To Hide’................49 Bears’ Famous Invasion of Sicily, The...53 Beyond Noh............................................. 13 Big And Small........................................... 51 Black Doll..................................................22 Blanket..................................................... 51 Budvar ’B33’............................................49 C Cerulia...................................................... 23 Chobani ’Impact’......................................49 Chronicle of a Journey............................43 Coca-Cola ’Open’......................................49 Corona ’La Cerveza Mas Fina’.................49 Cosmonaut..............................................30 D Dernier Acte.............................................35 Destined To Be Dead...............................32 Deux oiseaux...........................................35 Dogs..........................................................35 E Elusiveness.............................................46

62 63

Mud Chronicle..........................................47

Handmade...............................................44 Hors Course.............................................35 How To Make Sushi..................................49 I Impact ’Pizza Forever’............................49 J Just a Guy................................................ 15 Jif ’Bunker’...............................................49 K Ketel One ’The Journey’..........................49 L La Tempête..............................................35 Lights & Shadows...................................45 M Mad In Xpain............................................08 Maestro....................................................35 Mascot......................................................07 ’Mate’.........................................................49 Mountain Dew ’Green Means Go’...........49

Night Fairytale, The.................................52 Nestle ’First Family’................................49 O Orpheus.................................................... 31 P Peter’s Proud & Punch............................49 Physics of Sorrow, The............................ 16 Pile............................................................35 ’Plaisir Sucre’...........................................49 Postmates ’When All You Can Burger Is Think About’.............................................49 Poulehouse ’Solidarity Hens’..................49 R Richie........................................................ 17 S Sad House,The.........................................22 Skol ’Drink Right F*C...............................49 Song Of A Lost Boy, The.......................... 12 Stork, The.................................................33 Strawberry eaters...................................29 U Un diable dans la poche..........................35 W Wagamama ’Bowl to Soul’......................49 Warm Star.................................................52 Winter in the Rainforest.........................35 Witch & The Baby, The............................52

Index imena Index of Names

N Nedeljković, Ana .....................................39 O Obeidi, Clara ............................................35 P Palibrk, Vuk .............................................47 Paula Santos, Mateus De .......................39 Pavicic-Ravlic Karlo ................................45 Pärn, Olga ................................................28 Pärn, Prit ..................................................28 Price, Darren ...........................................49

A

Q

Acorsi, Fabio ............................................49 Aiano, Eluned Zoë ................................... 18 Amendola-Borrallo, Miguel ....................35 Auberg, Toby ............................................35

H Hara, Shoko ............................................. 15 Hykade, Andreas .................................... 11

B Babakoohi, Mohammad .........................35 Bednarz, Jakub ......................................35 Benner, Anna ........................................... 18 Berrebi, Benjamin ...................................35 Bonnet, Antoine ......................................35 Broni, Mads .............................................49 Burnod, Martin ........................................35 C

I Illogic........................................................35 J Jancis, Kaspar ........................................30 K

Carillo, Sofia ..................................22-23,36 Cohen, Nando ..........................................49 Crécy, Geoffroy de .................................09 Crécy, Hervé de.......................................49 Craste, Mark ............................................49 Cristófano, Diego ....................................35 Cvetinović Pavkov, Mina ........................44 D

Karam, Ralph ..........................................49 Karpova, Marina ..................................... 51 Kater, Camila ........................................... 19 Kim, Leeha ..............................................07 Krencker, Lucie .......................................35 Kurkova, Elena ........................................52 Kuzina, Anna ...........................................52 L

Dunstan, Softly .......................................49 Ć Ćirić, Rastko ............................................45

Lenoble, Théo ..........................................35 Lindgren, Jonathan ................................49 Lopez, Nicolas .........................................35 Loubes, Mathilde ....................................35 M

E Elwing, Daniel .........................................49 Ensergueix, Aélis.....................................35 G Gantelet, Yohan ......................................35 Geral-Aries, Antonin ...............................35 Golubeva, Evgenia ..................................52 Granger, Romane .................................... 17

Indeks

Grofpel, Natalia ....................................... 51 Guinet, Astrid ..........................................35

Index

Masson, Clément ....................................35 Mattotti, Lorenzo ....................................53 Mazlo, Chloé ............................................35 Mälk, Mattias ...........................................29 McClammy, Wayne .................................49 Meador, Kelly ...........................................49 Ménard, Nicolas ......................................49 Monti, Julia ..............................................35 Moshkova, Marina .................................. 51 Mrzljak, Lucija .................................... 27,33

Quirke, Daniel .......................................... 12 R Radaković, Srđan ....................................39 Rakotoarisoa, Geoffrey ..........................35 Riobóo, Coke ...........................................08 Robert, Antoine .......................................35 Rogers, Steve ..........................................49 Rooyen, Marthinus Van ..........................35 Rosso, Francesco ...................................32 S Sethi, Robert ...........................................49 Smith, Patrick .......................................... 13 Stepanova, Maria ....................................52 Stipaničev, Natko ................................... 10 T Tender, Priit ............................................. 31 Tšinakov, Morten ....................................33 Tuttelberg, Anu-Laura .............................35 U Ushev, Theodore ..................................... 16 V Vartanyan, Alla....................................... 51 Vojir, Lukas ..............................................49 Vulić, Marija..............................................46 W Wolfberg...................................................49 Wyckens, Manddy ..................................49 Ž Živkov, Stevan .................................. 39, 43

Organizator / Organizer

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ANIMANIMA 2020 Međunarodni festival animacije International Animation Festival Direktor festivala / Festival Director Radisav Luković Umetnički direktor / Artistic Director Milen Alempijević Producent / Producer Nebojša Petrović Savet festivala / Festival Council Nebojša Petrović, Miloš Gojković, Milan Milosavljević, Nenad Trifunović, Milen Alempijević Saradnici / Associates Tehnička podrška / Technical Support: Ilija Damjanović Web podrška / Web Support: Aleksandar Jovanović Festivalski spot / Festival’s video Animacija / Animation: Ivan Kostić Zvuk / Sound: Miloš Gojković Festivalski plakat / Festival Poster Ivan Kostić Adresa / Postal Address ANIMANIMA Festival Dom kulture Čačak Trg narodnog ustanka 2, 32000 Čačak, SERBIA Kontakt / Contact Tel: ++381 32 341 068 Fax: ++381 32 325 073 E-mail: executive@animanima.org www.animanima.org KATALOG / CATALOG Izdavač / Publisher: Dom kulture Čačak / Cultural Center Cacak Za izdavača / For Publisher: Radisav Luković, direktor / Director Urednik / Editor: Milen Alempijević Dizajn / Design: Ivan Kostić Štampa / Press: Donatgraf, Beograd Tiraž / Circulation: 150 Godina / Year: 2020 CIP zapis je dostupan u elektronskom katalogu Narodne biblioteke Srbije: COBISS.SR-ID 24339977 ISBN-978-86-902728-0-8

ANIMANIMA 2020 5-7. novembar 2019.

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