Solomonos Magazine N°2 English by Solomonos Magazine

02 Magazine

Erwin Gómez Viñales Margarita Cid Lizondo PamelaRiveros, Ricardo Arce Erwin Gómez Viñales Nicolás Bustamante Laia Machado Prin María Ignacia Pavez Travisany Héctor Zurita María Fernanda Vergara Josefa Villaseca García Manuel Ortiz Ossandón Portada

General Editor Executive Producer Journalist Guest Article Chief Designer Designer International Production Corrections Copyeditor Translate Translation Correction Video Interview with Carlos González, Claudio Díaz y Diluvio “Valparaizoo” from Claudio Díaz November 2014, Santiago, Chile

02 Magazine

Valparaizoo • Diluvio • Carlos González • Annecy 2014 • René Castillo • Animation in Colombia • Daniel Arriaga

VALPARAIZOO/08

The young director Claudio Diaz tells us about his passion for the city port which led him to direct his short film “Valparaizoo” an interesting story about the routine of the place, and how the life of a woman may experience an unexpected journey and psychedelic to one of the most common and traditional spaces for her: El Mercado Cardonal.

DILUVIO/22

Know how Diluvio has become a significant producer of animation, through technical and very specific work systems, which have given their short stop-motion different and special elements that transform the result into a piece of art.

CARLOS GONZÁLEZ/36

We remember him for his legendary animation “Tevito”, a dog that captivated thousands of Chileans through TVN signal. Gonzalez did this work at a time when there were no processes to develop the cartoon. Neither the dictatorship could stop this 2D artist, who somehow revived his mythical character in the opened window.

ANNECY 2014/46

Solomonos Magazine traveled to Annecy Festival, one of the most important animation festivals worldwide. There we witnessed the Latin American presence and how does a Brazilian film, for the second time, the grand prize for Best Animated Feature Film.

RENÉ CASTILLO/58

We interviewed the prominent Mexican artist of stop-motion and find out its history and beginnings in animation. A traumatic event would lead him to express through this medium and would bring various surprises and prizes for everyone.

ANIMATION IN COLOMBIA/76

The distinguished professor at the University Jorge Tadeo Lozano and Colombian entertainer Ricardo Arce, makes a deep analysis on the increased production in the country. It appears that these numbers are due to the high share of state and public policy.

DANIEL ARRIAGA/90

The creator of Lotso Bear “Toy Story 3” tells his story of perseverance after hitting repeatedly doors Pixar. This young designer began his career doing characters in the production department and Effects Simulation, and now in major projects where expected leave a lasting seal.

VALPARAIZOO Each frame is a unique piece of art

There are 20,000 thousand paintings in watercolor illustrations of funds, which are not stored on a hard drive, but are physically sketch sheets. This meant two years of hard work for Claudio Diaz and his team, who, through his renowned auteur concept portrays the story of a woman who through their expressions and feelings, leads to a surreal journey through Valparaiso Market

Link to video interview to Claudio Diaz

By Pamela Riveros RĂos

Claudio Diaz has various studies related to painting in watercolor, oil and acrylic, because from the nine years he studied art techniques that have enabled it to obtain advanced knowledge about the human body. In addition, he entered the Conservatory of Music, where he practiced and deepened on percussion, using instruments such as marimba, xylophone and vibraphone. This empowered the development of their artistic side, he managed to create unique animated pieces, with great force and individual pace. One day Claudio Diaz (39) awakened from a long sleep. There he received an inspiration that sometimes comes as a highlighter. He hurriedly asked for a pen and paper to his partner, who at that time a deep sleep, to draw the creation of which was fresh image in his head. “I think all day in animation, in the development of the story and when you’re in that kind of bailout sticks in the subconscious,” said the Chilean artist who found in Valparaiso, the city that welcomed him into college life, the ultimately inspiration for a story of a film. For a long time he thought of a way to portray this port and reflect the identity, exposing the main attractions and dynamics. “I am a person who has many déjà vu, the story stays in my mind, and I have to draw and let it reflected” adds Diaz.

Animation process Señora Lupita Mercado Cardonal of Valparaiso is definitely a key part of this film. For a long time it caught the eye of Claudio, who was finding elements that made it distinctive. It is interpreted as a real Pandora’s box. “You do not know what you find there, anything can happen, even to those who regularly go to the place,” says the author.

zoomorphic dimensions transiting between reality and a hallucinogenic dream.” (Claudio Díaz) A constant process of creation “An animator should have a super powerful observation” is one of the principles of this author. Maintaining constant levels of creative processes and one of them is “segregation” of the information to be used in production. Then make a well structured script that generates a good rhythm and dynamics.

“Valparaiso port city of bohemian drunk. Frequently visited by catastrophes, then get up and redeem itself. Inserted in this particular scenario is the Mercado Cardonal, pandora box playful, psychedelic, hallucinogenic, organic mutation that imbues his characters of unprecedented scope, all equipped with unique expressions and individuals Artistic Vision which enables the eyes of playful creator, convert all unusual characters that vision. In this wonderful Meccano One could say that Valparaizoo’s visual bet recalls the everything is possible, a slight flicker transports us to artistic basis of Diaz. Observation becomes the starting

point for the creation. It installs to see people moving through the market of Valparaiso. Record in your mind movements, conversations, gestures and actions that characterize this space and daily dynamics. After it is installed to draw the expressions of who their characters. One of the fundamental aspects will be the paint and colors used for the development of the protagonists. Finally, it begins to discover Mrs. Lupita, who appears drawn in watercolor. Thus develops the rest of the elements to be incorporated, to then acquire motion. The accumulation of this work results in several frames as a single work. “The animation film describes it as a way of telling a story from the point of view of art. So this is how I handle the tool of the artistic process related to animation,”he says. 2D drawing lover, prefer this technique because it can conjugate with manual labor. Thus, the 20 minutes of “Put together a story in relation to animation left a balance of more than 20,000 independent Valparaiso is a leisure development. I frames that are painted in watercolor, and specifically, in wanted to leave the typical animated the study of Diaz, plus another thousand funds illustrated. Harbour View How this connection between two players in Valparaíso as common as it is the market and the hills own port occurs? Everything could take shape, giving an ordinary woman a surreal experience that escape from the everyday settings. Lupita emerges as the urge to develop a character that under this premise Claudio Diaz will see repeatedly circling the harbor.

Antonia Herrera directora de arte de “Historia de un Oso”.

documentary and make a surreal image, a message that went beyond the everyday, which related to certain hallucinogenic dreams. It is a psychedelic tie that keeps the protagonist, who makes an imaginary trip to the market and from their interaction with everyday people, has this connection subliminal visions” explains Claudio Diaz.

Gabriel Osorio director de “Historia de un Oso”

Her cat will be the connection and why she leaves home. This protagonist ends on a journey into her own subconscious, from her home located on one of the hills of Valparaiso, reflecting her thoughts and prejudices with each of the people with whom she cross under the context and provocations raises the actual pandora box. Men looking like animals Watercolor, marked folds and exaggerated wiggles from its protagonists, keep viewers pending the screen, resulting striking rotoscoping technique used to perform the movements. Through Lupita’s mind, every member of the play takes zoomorphic aspects; “I tried to keep each character a certain line with the animals they represented, with their personalities,” says Diaz and adds, “particularly in relation to the creative process was surreal, the actors were wearing masks, and simulate animals. They did not understand until they saw the short,” says Claudio Diaz. SM

Claudio Diaz Painting process

Claudio Diaz keeps certain processes to make their works. As a first point, trying to segregate the information will actually use in the film, and look for ways that give identity and everyday life. Taking lighter above, begins to assemble the script. Once it is clear that history will tell, performing art direction, in order to guide the animators in the structure of the drawing.

www.reelday.cl

Anima para el mundo

Todo el talento latinoamericano de la animaci贸n en un solo sitio

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Diluvio Painting on camera

Its way of working is far from the commonly seen in Chile. Through its studio Diluvio, Cristóbal León and Joaquin Cociña have made three short films of suspense in stop-motion, where a room is able to tell a story. Today they are making their feature film, opting to show how they work in museums and in his study of Providencia neighborhood, keeping a small team.

Link to video interview to Joaquín Cociña

By Pamela Riveros Ríos

Working in “Luis” 2009

Entering the studio León & Cociña one can notice that not referring to all the great house located in Marin with Condell, in Providence. It is, rather, a small room of 10 square meters, located on the left side of the house. There are conducting part of the production of his first feature film “La Casa Lobo”, in line with its previous two works, the short films “Lucia” and “Luis”. “The truth is I do not know if we are very interested to grow. Why always assumed a priori to be growing? Why we need to grow? “I do not understand much that idea”, says Christopher and adds,” I feel that craftsmanship is the space that we have been defending and we have had. “ This is explained from the beginning. Cristóbal León and Joaquín Cociña have been known since college days, at the Catholic University of Chile, while one studied design and the other arts, respectively. They had mutual friends, therefore, they are known. As Joaquín exhibited his drawings in charcoal, Cristóbal thought about the idea of doing something together as they had experienced in the animation. Thus was born León & Cociña, duo excels in visual arts and develop visual concepts. Through this experience, they thought about making a charcoal drawings based on short, adding to this the use stop-motion to animate, ie scene by scene. “When we started with ‘Lucia’ I felt sure that we were getting into an area in which I did not understand anything, but I liked it,” said Joaquín on the first film they made together. The technical product of experience start to develop to make these pieces of animation, “began spending at work began to work well, we like to work together. We have

I. II. III. IV. V. VI. VII. VIII. IX. X.

Decalogue of â&#x20AC;&#x153;La Casa Loboâ&#x20AC;? Camera is paint. No dolls. Everything can transform like a sculpture. He was not going to black. Is a sequence shot. The film tries to be normal. Color is symbolic. The camera is never the same from frame to frame. Maria is Belle Is a workshop not a set.

learned to live with our differences. He was fluent in that sense”, he adds. How Diluvio was born The short film “Lucia” is the starting point for the birth of producer Diluvio, which consists of Niles Atallah, Joaquin Cociña and Cristóbal León. So then increased its working group and the next step was to seek financing through public funds.

“Cristóbal: We both work collaboratively in production, art direction. We work very duets and assume many roles. Both do the same, as the script, build, draw and make the sound. Joaquín: works very horizontally small team and we work “.

They also agreed that the concept behind this new small business would be “laboratory”, ie going testing results. The production of “Lucia” was held in a small room where she appears drawn in charcoal. The movements consist of occurrences of silhouettes and faces on the walls, along with the objects of the piece to be used to tell her story. The drawings are made through charcoal, which is going scene by scene recording and arming the animation, which involves going drawing sketches on the wall and go like moving things come alive. So a grim sense of the characters that emerge, and by finding out the brutal history Lucia afflicting occurs. “Originally we postulate a FONDART, which we did not

Link to video interview to Crist贸bal Le贸n

get timely response. As had been the exposure of ‘Lucia’, which serve to make the film, we had to fund it in our pockets. We later found out that we got the background, so we decided to do the second part with the money,” says Cristobal. After performing “Lucia” they received the Grand Jury Prize at the Festival 1.er Iberoamerican ABC, among countless other awards in France, Switzerland, Austria, United States, Germany, Estonia and Chile. Authentic form of production When performed “Lucia” Joaquín Kitts and pushed for work in his workshop, as well mobilizing production art spaces to the public to see in situ the work done after this short; understanding also its form of construction that is hand materials such as charcoal, earth, wood, and common part of the respective objects. This way of working has gotten experiencing and being away from stereotypes and forms that could impart a school. For both, the important thing is to be present in the process and enjoy it. “I think the arts in general, in very broad terms, do not allow you to have a way of knowing, but to make the animated film we are doing not need more than what we already know”, argues Cristobal and Joaquin and adds: “we have learned in the doing. It’s the way I like, I do not want to sit and learn methodologically. Finally, you end up adopting the model of another, which is something we avoid. They also prefer to work with small teams and even just them. “There are several reasons, but one is emotional: we like to take care of the energy of the moment. Sometimes

“Cristóbal: The first objective is have fun making the movie (Casa Lobo), and the second is finish. On the other hand, I always complicates me when people say ‘hey but you should seek a sponsorship factory with masking tape and paint’, but I do not want to start compromising content of the film, I think younger stay this better”.

it disperses if it’s crowded and you get distracted. We feel more comfortable us, “emphasizes Cristobal. Following this line, continued with their second short film, “Luis”, which was the same parameters and techniques of his predecessor, and in which the viewer can learn about the other part of the story, where is mentioned the relationship between this new character and “Lucia”. This particular piece won the “Grand Prix” and “Audience Award” at the Court-Bouillon Festival in France, among other awards, repeating the same experience after the first short. In parallel Also, between 2010 and 2013 they performed another series of short films based on a similar technique of stopmotion, very elaborate and using different materials for its implementation, such as paper, dirt, paint, masking tape, and even including actors. “El Tercer Mundo”, composed of parts “Padre y Madre”, “El Templo”, “El Arca” and “Los Andes” was called. This latter work won an award at the International Festival of Animation Chilemonos 2014, winning the Special Mention award by the jury of the National Short Film category. A new experience in animation Diluvio is making his feature film “La Casa Lobo” which in the first instance was intended as a third of the series of short “Lucía, Luis y el Lobo”. However, this time felt that for this part could create a film with a long, own independent history. “The reference arose as inspiration was the ‘Beauty and the Beast’. It was a story of domination, the beast tried to keep Belle in the house, through force, occupies remorse and shame” said Joaquín Cociña, which also explains the

evolution of this idea was that the story finally unfold in a colony in southern Chile, where the character of Mary escapes from there and come to a family who, through their influence, they begin to become better people. This film have its release date in 2015, so 2014 is designed to make production in art spaces, as has been done in the Museo de Bellas Artes (in the context of the biennial arts visual), in the gallery A2 of Santiago, in the Museo de Arte Moderno de Buenos Aires (MAMBA) and Kampnagel Hamburg, Germany. About keep doing animation, this road is still not clear to these artists. “We are always thinking of scripts, we know we want to do film, animation occupy much of our hearts, heads and time,” says Joaquin Cociña. “The first goal is to have fun making the film, and the second is finish. I think I feel comfortable in this space of animation and its periphery,” says Cristóbal León. SM

2007 Diluvio launches its first short film, called “Lucia” Gain competitive fund FONDART from Council for Culture and the Arts, Chile, for his second short film “Luis”, a continuation of “Lucia”. 2008 The production draws his second realization called “Luis”. “Lucia” begins its international tour and wins second place in the Fair Play Award Film and Video Festival in Switzerland; and gets the Literaturwerkstatt Berlin Prize, Zebra Poetry Film Festival, Germany. 2009 “Lucia” won the Grand Prize at the Festival of Animation Estonia. Also won First Prize in the category of Best International Short Film International Animation Festival Fantoche, Switzerland. “Lucia” celebrates the Jury Prize for Best Animated Short at the Iberoamerican Short film festival ABC, Spain. You also get a Special Jury Award at the International Film

Festival of Valdivia, Chile. 2011 Cristóbal León makes the short film “Der Raum Kleinere” Create short films “El Arca”, “El Templo” and “Padre y with Nina Wehrle Madre”, that make the series “El Tercer Mundo” 2010 “Lucia” wins the Asifa Austria Award, International Animation Competition, the International Festival of Independent Short Film Vienna, Austria. Also “Lucia” won the Grand Jury Prize at the Disposable Film Festival, San Francisco, California, USA Earlier this year, “Luis” Wins Award Asifa Austria, International Animation Competition, the International Festival of Independent Short Film Vienna, Austria. “Luis” also won the Special Prize Animafest Zagreb 2010 World Festival of Animated Film, Croatia. Niles Atallah premiered his film “Lucia,” the first feature film produced by the producer Diluvio. The short film “Luis” is selected for the YouTube Play Biennial taking place at the Guggenheim Museum in New York. Joaquín Cociña makes the short film “Weathervane”

2012 Made the short film “Los Andes”, part of “El Tercer Mundo” series. 2013 Begin to work on the realization of his first feature film “La Casa Lobo”. Participate in the Venice Biennale as part of the Pavilion of Latin America. 2014 Work continues to “La Casa Lobo”, making production in Chilean museums and spaces of his production.

ANIMA MUNDI 2015 BRASIL JULY RÍO DE JANEIRO/SAO PAULO http://www.animamundi.com.br/ EXPOTOONS 2015 ARGENTINA SEPTEMBER BUENOS AIRES http://www.expotoons.com/ CUTOUT FEST 2015 MÉXICO NOVEMBER QUERÉTARO http://www.cutoutfest.com/ AXIS 2015 MÉXICO APRIL MONTERREY http://axisfest.mx/ ANIMA 2015 ARGENTINA OCTOBER CÓRDOBA http://www.animafestival.com.ar/

CARLOS GONZÁLEZ Tevito and the “Sigamos Juntos”

He was the creator of one of the first animations that appeared on Chilean television: Tevito. A puppy drawn to children who watched TVN which bore the slogan “Sigamos juntos”. He had to keep quiet after the arrival of the dictatorship. However, this character, true to its position, never went away and kept creeping into the screen and minds of Chileans.

Link to video interview to Carlos González

By Pamela Riveros Ríos

Who would have thought that an abandoned dog could get to the small screen and become a symbol of Chilean animation. Carlos Gonzalez wanted to adopt “Pachacho”, a cocker spaniel he picked on the street, and would serve as inspiration for creating Tevito. Prior to his experience as an animator, González was a cartoonist. The spaces on the boards of the School Arturo Prat in Iquique and then the Liceo de Hombres de Antofagasta help enhance their skill in this art, and began to be recognized in its class by this talent. “When I turned 15 I decide to tell my parents I wanted to study at the Fine Arts in Santiago. 15 years already! Revolution in the family. Artists and designers are starving, and blah blah blah”, says Gonzalez making mention of his college days where he received the first offer to enter the world of animation. There he adopted “Pachacho” and fed him in the Bellas Artes’s casino, then take him to his room. At that time, he liked the comic, “I always dreamed to draw in magazines like El Pingüino” adds this entertainer, who says that without first hearing, was carried in this publication, “I worked in a large weekly called Seven Days. They started to asking me for drawings and I pulled whole pages, and this was like four numbers and suddenly I find myself with my own title page in El Pingüino” he recalls. The passage of the picture to the motion One day one of the most important directors of television in Chile, Gonzalo Bertran, invited him to join the group

of people who participate in the airing of the channel Televisión Nacional de Chile, where will also take over as Executive Director one of the most television network specialized characters, Jorge Navarrete. The idea was that Gonzalez created the “test card” in this network, but decided it was best that the visual, typically having colored squares was transformed into a drawing that had movement. Thus was born Tevito. “I had Pachacho a long time. I wanted to make a character that was of national roots, then nothing better than a Chilean puma. It turns out that it was gradually changing until I got a dog and said ‘Well, you’re ready, let’s put something different and put him glasses”. So this faithful friend, who even then was with Carlos, was reflected to an entire country, simulating a Chinchinero Chilean popular character who wears on his back playing with a drum staves, while dancing and moves the dishes that are above are due to a rope which is attached to the shoe. “Then I asked Victor Jara to make me music and he made the ‘Charagua’” says Carlos Gonzalez, recalling the early work with this Chilean singer. Once the new character would appear to air broadcaster TVN continuity, Augustin Inostroza, introduced on screen as Tevito. Thus, the famous dog welcomed viewers in the beginnings of the public channel transmissions, then it was possible to see him presenting the programs that came after, using the slogan “Sigamos Juntos”. Conejito TV.

“Tevito passed trought ‘Free Music’, ‘Titans of the Ring’ and ‘Dark Shadows’. I remember one time that it snowed here

Classical sequence Tevito “Chinchinero”

in Santiago, I said ‘Let’s make a snow Tevito!’. So frame by frame, snow began to gather, a nose, glasses and a cap of snowman. Imagine that it snowed in the afternoon, and in the evening was coming on the news, and there appeared the Tevito in the snow, “said Carlos Gonzalez. Tevito had unsuspected reaches and began to be a character loved by Chileans. “I had thought that cartoons were for kids and had to fulfill a social function. And when Tevito was at its peak throughout the country I began to receive letters from sports clubs, mothers’ centers, community centers. He worked continuously from 1970 to 1973 with Víctor Jara in conducting Tevito, where the singer gave the tracks almost three months before the chapter in which it would be issued. The last delivery was in September 9, 1973. When Tevito had to remain silent. “When the military authority calls me and tells me ‘Tevito doesn’t go more’, then that’s when I questioned the situation and said ‘No, I am the one that moves Tevito, I am the one that draws it, the one that gives it life. Therefore, I am responsible, I am the one that have to go, I said”, said Carlos Gonzalez imperatively to the military after the arrival of military coup held on September 11, 1973. With the coup, TVN was the target of chinks, that pointed to the heart of the public channel. So enough material that could harm the new authority was erased. Tevito apparently was a danger and like many others, was muted. In the meantime, Víctor Jara encountered the same fate, while all

Carlos Gonzรกlez in Sรกbados Gigantes 1987

copies of this symbol puppy were burned and disappeared. Attempts to revive Tevito Carlos Gonzalez continued to work for TVN and somehow Tevito did not disappear. By mandate of the military authority, had to create another character to become the star of continuity of the channel. Therefore appeared Conejito TV, with which 37 television spots were created. What no one suspected at that moment is that the doggy with glasses would reappear on the screens. Resisting the idea off letting him disappear, he made this new character but with similar features to its predecessor, namely, Conejito TV was a disguised Tevito with ears. “An devilry I did ...” In the context of the plebiscite in Chile todecide whether or not military regime continued to govern the country, as the authority network TVN should carry out the “Sí” campaign which sought the continuity of the mandate of

After creating his character Tevito, Carlos Gonzalez continued his work in National Television entertainer under the military dictatorship. He developed Conejito TV, as well as small “Ito and Ita”. Then he created “On Chilo” a huaso that with his skills in folk dance taoguth the cueca to the audience. Later he was associated with the animated series Condorito through Grafilms producer. General Augusto Pinochet. That is why from the network management, Carlos Gonzalez is asked to make a storyboard to promote it. “And I said, you know me, why did you ask that when you know I’m not with the Sí’. He tells me I have to do it or else they will take action against both of us. Then I said ‘Ok, I’ll do it’“, says the artist who, not convinced with the work to be performed, think of a way to show his discontent.

The feat would not go unnoticed for the most trained eye, so two weeks later appear in TVN militars accompanied by the general manager of the channel, to point out that they had seen a swastika in animation. The artist had to show it frame by frame. “Of course those who does not handle what is the sense of motion, continuity of a drawing with another will never have the imagination to see a static drawing that does not show anything to get to this one. Of course inside I felt terrible, I said, ‘Here they caught me,’ “I do a storyboard which start with “Sí”, but whose ‘S’ that is, ‘what I do’. In the end they shook their heads and has a very special way and the ‘í’ next. The idea was left. An devilry I did. I would say maybe a naivete that that the “Sí” transformed itself into a star and made a could have cost me dearly, “says Carlos Gonzalez. zoom back was the Chilean flag. Lasted 15 seconds. But where was what I did in those few seconds? It was in the What happened when returning to democracy transformation of the “Sí”, when the ‘í’ went to the ‘S’ you could see a swastika” adds González. Once democracy returns to Chile, as citizens had voted by a simple majority for a “No”, everyone expected the

“Ito e Ita” first sign that TVN no longer would be in the hands of the military. “And the first transmission to the return of democracy was Tevito. It was something that thrilled me, because I remembered Victor Jara, all that had happened, all the rocky road we had at that time,” he recalls. Another surprise Carlos González received, many years after the arrival of democracy, was knowing that Tevito had not disappeared. “Domingo Ulloa, a former animation employee, comes to my office and says, ‘Carlos, I have a surprise’. I said ‘what is it?’, ‘Come,’ he said. We meet in a private place, and he says ‘Carlos, take, this is for you as a gift’. I open it, and they were like 10 or 11 animations of Tevito of the many that I had done. Were the only ones saved. I’m not lying I started to mourn. “SM

Photograph courtesy of Victor Jara Foundation

Carlos Gonzalez with Victor Jara, composing for Tevito

ANNECY 2014 The Latin American presence at the festival

The Brazilian film “El Niño y el Mundo” was the big winner at one of the most important animation festivals in the world, thus marking the presence of Latin America. The continent was represented in the competition of short films and television series, adding a special stop-motion program where the great work done by Mexico in this area showed. An important focus between Brazil-Chile, within the market MIFA was also performed.

By Pamela Riveros Ríos

Foto : G. Piel/CITIA

Foto: E. Perdu/CITIA

Annecy International Animation Festival 2014 is one of the most important events in the world of animation. They were about 350 hours of viewing, reaching 2,292 entries from 88 countries worldwide. Developed in the French town of the same name, this year held its 38th version, from 9 to 14 June, where 7,100 accredited could see nearly 500 screenings, attend master classes and lectures; namely, in terms of numbers, this festival has become one of the most influential in the world in this area. Within the selection made by the artistic director of the festival, Marcel Jean, along with the programming planning team, were chosen for the short film competition 43 films correspond to 23 countries. In this area the mexican “Pickman’s Model” from Pablo Angeles entered this competition without taking the trophy as well as his running mate, Argentine Santiago Bou, who was selected with his work “Padre”, which also participated in Chilemonos Festival 2014 and won the competition for Latin American Short Film.

Short Film “Padre” de Santiago Bou

In Annecy, however, the winner in this category was “Man on the Chair”, a French-Korean co-production. Following the great list of numbers that makes this festival, about 12 judges participated in 6 categories, who saw the classification had already made the team Annecy 2014, after 230 films selected stop. Among them, there were nine films in competition, including two Brazilian films, one of them won the Crystal, the grand prize of the festival. The Latin American presence and one winner In addition to the Latin American presence in the competition of short films, “Historia de un Oso” by Chilean Gabriel Osorio and belonging to Punkrobot, was exhibited at the official non-competitive section for short films, giving great visibility in one of the most important festivals animation. It also had as companions “Mundo” directed by Cuban Alien Ma. The television series have also seized power in Latin America and we are seeing more productions with own resources and through co-production. On the latter, Colombia and Spain showed “Cuentos de Viejos” in the competitive section of television series Those who could have a unique space to display their talents were Mexicans, since Annecy summoned to join the Special Program for Stop-Motion, where they could present their talent in front of the other participants countries, such as France, Croatia, Canada and Estonia.

René Castillo, Mexican animator, leads the battle flag in this area in his country, and has twice won the Cristal for his short films “Sin Sostén” and “Hasta los Huesos” acutely portray the loneliness and death. Also presented Karla Castañeda, talented animator and filmmaker of “La Noria” and Juan José Medina, author of “Jaulas”. One of the big winners was the Brazilian Alê Abreu, director of the film “Un Niño y el Mundo”, who won the Cristal for “Best Feature Film”, category in which they were nominated nine productions. “With the selection, the increase of Brazilian animation was confirmed. The double coronation of “Un Niño y el Mundo” sends a strong signal to the vitality of this film“, said the artistic director of Annecy, referring also to another award this film received, that comes from the public’s choice.

Short Film “El Modelo de Pickman” by Pablo Ángeles Zuman

“Un niño y el Mundo” became the second Brazilian film that consecutively received this award in Annecy, since last year’s Cristal was delivered to his compatriot “Una Historia de Amor y Furia” Luiz Bolognesi. Mifa, the biggest animation market. While Annecy Festival brings large numbers, the market is not far behind. They are 25 years in which the Marché International du Film d’Animation (International Market of Animation), MIFA, takes place within the context of this festival.

Colombian documentary series “Cuentos de Viejos”

Within the market this year attended by 60 countries, 2,450 accredited, including television channels, Photo : G. Piel/CITIA

The winners of the Annecy Festival 2014

“La Noria”, short film by Karla Castañeda

“Lluvia en los Ojos”, Short Film by Rita Basulto

Short Film “Prita Noire”, by Sofía Carrillo

Chilean Short Film “Historia de un Oso” was shown at Annecy 2014

“Jaulas”, Short Film by Juan José Medina Dávalos

Carlos González en Sabados Gigantes 1987 distribution and production house. The Latin American presence was represented by Brazil, Mexico, Chile, Argentina and Colombia. Among the 513 exhibitors took this market, Brazil and Chile were part of a “Territory Focus” where producers from different studies of both countries could share their experiences about animation and how it has worked to raise the co-production industry in their nations. Also, Señal Colombia participated in “Share with” as television network, while Chile and Argentina participated in pitching, both for films and short films, respectively. According to the publisher of MIFA, Mickaël Marin, Head of Economic Development & Mifa, spoke about how this market has grown capturing new areas of production and creation, being a reflection of the viability of this sector of animation, “the best example is South America and the growth in the participation of companies that impact the industry will have a decisive role in the coming years.” SM

Foto: MC. Huo/CITIA

Were about 500 projections were performed at this festival Foto : D. Bouchet/CITIA

Long lines were common in Annecy, due to high public attendance activities Foto : G. Piel/CITIA

About 14 conferences were held in MIFA, both production and business creation Foto : G. Piel/CITIA

Outdoor Movies at Annecy 2014

Tenemos tecnología de última generación: nuestras cabezas y manos. Árbol Naranja/Artesanía Audiovisual.

ArbolNaranja @arbolnaranja_ arbolnaranjaproducciones

www.arbolnaranja.cl

Cuerpo en Espuma Látex para

“La Noche Boca Arriba” Cortometraje de Hugo Covarrubias

Imagen cortesía de Maleza Studio ©

RENÉ CASTILLO The death reborns through stop-motion

A next-death experience was what motivated this artist to approach the animation. René Castillo is undoubtedly one of the great exponents of stopmotion in Mexico, winning countless awards after his two short films.

By Pamela Riveros Ríos

Image of the short film “Hasta los Huesos”, by René Castillo No doubt that René Castillo is one of the leading exponents René, tell us how was the experience of entering the world of animation in Mexico. His two short films in which he of animation? used the technique of stop-motion are among the most I approach animation in a natural way through the material; awarded, accumulating over 50 international awards. I became fascinated with the clay. Since childhood I played The intensity of his work makes him deserving of this a lot with that. global reception. After an experience that brought him next to death, he learn that life was short and he should When I grew up and had to decide what I was going to study, not waste time and do what fascinated him. A Chilean artist entertainment was not an option in Mexico. There was no will show him the way to approach animation, after that school. Then I went to study Business Administration. And he produced two short films in stop-motion: “Sin Sostén” maybe I could have stayed there for many years, but... (1998) and “Hasta los Huesos” (2001). In these two those things in life. In the second half I had an accident embodiments sensations and feelings which hovered him and decided to leave school. And at that time I realized I after his car accident; emotions that are represented by a did not want to do that, I had to find something that will man who is single and looking for an explanation of life. thrill me really, because you realize that you can not wake up the next day. He says that “the best way to connect with others is being And I experimented a need to find what was really my honest about what you’re doing.”

Short Film “Hasta los Huesos”

Image Short “Hasta los Huesos”

passion. It took me several years to recover from the accident, it was very strong. Suddenly, in those things in life, I heard on the radio that there would be a class of claymation. I said ‘I have not grab plasticine for years, but I know I can do anything’. Who give the class in Guadalajara was a Chilean, Vivienne Barry. And for me it was very important because basically we put animated shorts in stop-motion animation of the best in the world, especially in Europe and I had not seen anything like that. So I was watching the screen and thinking ‘that’s what I want to do.’ And at the end of that showcase I had no doubt: I had to become an animator. The next day I was already starting production of my first short film. And what came after that decision? How did you start doing this film? The next day I returned to college to study Communication Sciences, which was the closest to animation. What I really wanted was access to cameras and lights, and to explore all this universe. But really helped me to study because they teach the message, speech, how to narrate a story. And it was a pretty good journey. I have not stopped to discover, learn and enjoy. I really found what fascinated me. I feel very lucky to have discovered this. The animation is very wide, there are thousands of ways to do things, and there are thousands of stories to tell. And the important thing is to discover what your stories are, what your obsessions and somehow try to be honest. Once you discovered the stop-motion, what were the themes of your films? When I graduated I had to prove to myself that I did have

potential to be an animator. Then my first short film was called “Sin Sostén” and was a short claymation. Really resources were zero. I thought I was going to do in three months and it took me a year and a half to complete it. We gathered a team with passion, because it was the first time I made a short film with cinema, with a camera of the 40s, with 35 mm. It premiered at the Guadalajara Film Festival, where it won every award they can give you. But after two months we were at the Cannes Film Festival red carpet, competing for the Palme d’Or, that was the first international festival I went. I was very happy to be there and had never considered being in film festivals, never knew they existed. After that, I came back and had to do my next short film that is “Hasta los Huesos”. And somehow these two films are about something very personal, it was that neardeath experience, this accident was an experience that marked me and that somehow had to emerge, had to say something about that. “Sin Sostén” is what happens when you die, and “Hasta los Huesos” is an exploration of what happens when you’re dead, all full of these elements of Mexican culture about death that are very rich. With “Hasta los Huesos” we took three years to complete it. It was exciting and intense. The animation frame by frame, every shot, every challenge we had to achieve in terms of narrative and animation. But there was also the whole adventure of getting money, the no stopping, keep the team together and get to the end, because a project like that does not reach you, you will be out of hand. I got all the scholarships that can

Link to video interview to RenĂŠ Castillo

Image Short “Sin Sostén” give you all the support you can get, we started to give and somehow many of them are still doing animation and animation courses to get money and keep going. I made have made significant short films in Mexico, which gives the firsts comercials. me great plessure. I feel that is a credit to them. Now, we have more projects, more challenges... How do you see the stop-motion in Mexico and the development of this branch in your country? Do you consider yourself a pioneer in this?

I also see that things have changed. Technology has approach animation to everyone. I am surprised but I have tools in my phone much better than what I had in all my years of learning. Then five or six years ago that schools began to open animation carreers, whichypu do not know the pleasure it gave me, because when I was starting not only there was no animation, animation was looked up in a pejorative way.

I think yes, the truth is I do not set myself to ti, it was something, once again, circumstantial. When I got hooked on animation, there was no more animators, not many people doing it, just a couple. I sought them to teach me I remember that half of the of my communication studies and the did not want to share much. I went to Mexico City to explore careers in filmmaking, All these years many people got involved with us in the because I wanted to learn in a more formal way, but process, some were with us for a week, one or two years focused on animation, and I was very disappointed because when I got there they were like ‘here we make movies not

cartoons’. But animation is also a way of making Films!

What projects you are currently working on?

Over time it changed, and film schools were helping me, festivals began opening sections of animation, it is an industry with is a very big potencial. I like that a lot, in Mexico there are many people doing animation and I am happy that people come and tell me they decided to do animation because they saw a job I did. I did not think that, but it gives me pleasure to know that in some way one helps, and still there is a lot to do...

After these short films, which were very intense, I realized I could not go back to making short films like this, you need a lot of money and somehow there is no market for them and that is the saddest thing, I can not plan my life doing short because I can not live from scholarships. I love stop-motion, the material, I love the clay, I thought I would die with clay in my nails.

I’m making the film in 3D. My quest is to try to keep doing What Latin American aspects can be found in your two animation, which is my passion and try to understand the films? industry. If you tell a nice story and connect with people you can meet distribution and make it to many countries. “Sin Sostén” is the story of this sad character who decides to take his own life, but its not a definite place. And the Making a film is not easy. I’ve noticed that it is very difficult narrative of the story is ‘we have these references as the to get that a story held itself, that keep you involved, ideal, as the ideal man and woman’, and we are not thaty engaged, excited all the time and in the end impact you way, in Latin America we are set with models which we more. should aspire. The character is not comfortable with who he is, with the situation, with his life and suddenly decides We are producing my first animated feature film. There to change it and he achieves it. It has some drama and a is an adventure that you see on the screen, but perhaps there is a larger adventure behind, many people involved, lot of irony. getting money, learning, trying to achieve that magic. “Hasta los Huesos” has a whole very symbolic charge of Mexican elements that I feel are shared with Latin America. If someone sits down to watch my film I have to give a It’s good to look and seek our stories, our environment. big cinematic experience. For me it is important that Also, I think the best way to connect with others is being everything is to the maximum level when the movie ends when people say ‘wow, I am glad I saw this.’ For me that honest about what you’re doing. is the goal and you have to do it with music, with history, There are many models that are repeated again and again, design, and art. Everything gets involved and all weighed which are cliché, common places, you have to try to avoid, in to achieve that goal. them, you have to try to turn it around and that we fill these flavors will also be more interesting for a global The animation I owe to Vivienne, a Chilean, it gives me a great pleasure. Life goes fast, hope to do five films before audience. I die. No?. SM

ANIMATION IN COLOMBIA Notes on the evolution of Colombian animation

Today there are many eyes that are posing their gaze on the dynamics that are developing in the field of Colombian animation. A fast growth and international visibility that has gained in a relatively short time, especially for a country with an incipient domestic market that has had to develop policies to strengthen the audience formation.

By Ricardo Arce

â&#x20AC;&#x153;Imagen y sonidoâ&#x20AC;?, Fernando Laverde, 1975

Some point to the current Colombian Film Law as one of the main elements in this development, legislation that is even studied in different countries, not only Latin American reference of a normative framework for the promotion of a local cinema, while others argue that is not this body of law but a sum of peculiarities in the way we conceive, plan and produce projects which characterizes the Colombian animators, thanks to the kind of professional profiles involved, some say, to the way most studies conform animation in the country and how they take their own market dynamics, argue others, or a relative generational though not of styles, techniques and influences that define current entertainment content creators in the country homogeneity, say some more. However, setting this discussion here is not the primary purpose of this article, a subject that no doubt-could-and should occur in as many spaces as possible, especially when we are talking about the construction of canals for international cooperation in animation production in Latin America. So here we will just try to build a small context that allows us to understand how evolution has occurred in Colombia in this field of creation, just as the first step in the task of discussing the conditions of the present moment we are experiencing and the possible near future to the Colombian animation.

“¿Y vos a qué le temés?” Claudia Solano and Carolina Restrepo, 2011

Colombian cinema. With a politically charged, both made use of gaffs frame by frame to achieve what mere image registration could not show: the Colombian flag displaying their colors when the film was in black and white -thanks to manual colorization photogram by photogram- in Garras de Oro, and the advancing troops, planes and ships of the armies of Colombia and Peru in the Amazon jungle during the war between the two countries in 1932, in the movie of Acevedo, using small figures on a map with basic techniques of stop motion. These two cases, along with other small commercial productions for animated cinema, A modest start and a few isolated experiments with animation techniques Garras de Oro P. P. Jambrina (1926) and Gonzalo Colombia are the few things that are known to the date of Colombian Victoriosa and Alvaro Acevedo (1933) are two real image animations made during the first half of the twentieth films which are the first examples of use of animation in century.

Another story is what happens after the arrival of television in 1954, it began to produce cortoon commercials cartoon with styles very similar to those developed by the UPA in the United States. Foreign entertainers like the spanishs Manuel Mundó, Peter Moran or Robert Rossé, french, are some of the first animation directors in Colombia, and in their studies were formed the first colombians that would reate their own animation studios, as Nelson Ramirez and Luis Enrique Castillo in the early ‘70s. However, despite performing animations for advertising in film and on television was relatively strong for this time, the animated short was just beginning to take its place in the field of cinema in the country. Before this decade a few experimental short films were made from separate initiatives and rotated only in specialized circuits closer

“Carga” Yenny Santamaría, 2010

to art than to the film industry, such as Faustino y su Vida Atormentada, an experimental short film clearly influenced by Neighbours Norman McLaren (1952) made in 1964 in the city of Cartagena by Gaston Lemaitre and Luis Mogollon with pixilation techniques, or as it occurs with Las Ventanas de Salcedo (1966) and even AZILEF (1971), two short films produced by the barranquillero Luis Ernesto Arocha, where real image footage with animated objects are mixed, and in which the work of two colombian artists, Bernardo Salcedo and Feliza Bursztyn intervene. A moment of prosperity The animated short film situation in Colombia radically changed after the construction of platforms for the creation, production and distribution, known collectively as the “El Sobreprecio”, which actually corresponds to the implementation from 1972 of a series of laws sought to encourage the creation and circulation of Colombian films, despite numerous modificatios and with virtues and problems they lasted for 20 years. These policy of “Sobreprecio”, background to the current Colombian Film Law, were named after an overrun in the regular ticket price of theaters that was destined for the financiation of national films. Thanks to this and other initiatives the industry managed a relative constancy in the short film production for two decades and even the creation of three animated feature films, directed by Fernando Laverde: La Pobre Viejecita (1978), Columbus (1983) and Martin Fierro, this last film was made in co-production with Argentina and Cuba. “Mi cuerpo mi territorio”, Sergio Mejía, 2010

Colombia also began producing, in this period, animated commercials for television mainly with cartoon techniques with a very good bill, that even were made for other countries in the region. Nelson Ramirez, Juan Manuel Agudelo, Alvaro Alberto Sanabria or Catalan Badal are some of the most prominent leaders of this medium, which basically prevailed influences from Disney, Warner and UPA studies. Another very different kind of animators in this period is are those who sought in animated shorts a expression path closer to the plastic or to expetimentation than the more conventional systems of film or television industry,

as in the case of Carlos Santa, Maria Paulina Ponce or Phillippe and Magdalena Massonnat, among many other filmmakers, who found primarily in the “Sobreprecio” an area of funding alternative to the traditional market mechanisms. Then being a sector highly dependent on the mechanisms of “Sobreprecio”, when in the early 90s the laws that defined it are abolished and Focine is sold out, the state agency created for the implementation and monitoring of these policies. An abrubt decrease in animated short films production occurs, which also occurs due to a series of political, social, technological and economic events that dramatically changed the familiar scenario that came to further affect the realization of television commercials: added the implementation of free market policies for which the country was not prepared, the arrival in Colombia of satellite television, which offered a wide range of new visual and narrative references, plus the implementation of digital technologies animation production. Faced with this new horizon, most of the filmmakers who had achieved in previous decades in the field of animation in the country could not adapt to the changes in time and were gradually replaced by a generation of young leaders -most of them empiricists- that not only handled the new production systems, but had appropriated styles and languages that new public wanted to find on the screen, marked by the japanese animation and the influence of channels like Locomotion or MTV. In 2004 the first version of the current Colombian Film Law was passed, although it is based largely on previous

“Rojo Red”, Juan Manuel Betancourt, 2008

“Corte Eléctrico”, María Arteaga, 2008.

legislations that developed in the country, they have been developed in concert with the various stakeholders, both public and private, of the Colombian film medium, under the premise of building a set of dynamics for the production and distribution that enable long-term development of the field, but without falling into the vices that were generated with the policies adopted at other times. Other initiatives of promoting and strengthening for areas considered of high impact for the country -including the animation- developed by other bodies such as the Ministry of Information Technologies and Communications, Proexport or Chamber and Commerce of Bogot, among others, have enabled platforms that are built not only for the film but also to markets such as television, web, mobile devices and video games. More than ever in its history are being strengthened mechanisms for international co-production for the Colombian animation, a result of them are films as Anina, Uruguayan and Colombian coproduction directed by Alfredo Soderguit, shows like Cuentos de Viejos and Migropolis produced by Hierro Animaci贸n, La Gran Pregunta or Dr. W, or short like I Hate You Red Light, directed by Juan Manuel Urbina and M.R H枚rhager in 2012. With a growing number of animated productions a year, along with an equally greater presence in international festivals and markets, Colombian animation seem to go reaching -after many ups and downs- a certain point of maturity that would allow them to consolidated as an important axis of creation in the regional framework, as long as they know to learn from the mistakes of past moments and are able not only to

dialogue effectively with the public aware of its own territory and with Latin American countries and around the globe, but to continue on the road of creating animated content for heterogeneous circuits such as television, cinema, specialized festivals and experimental animation, for example, which may further enrich its rich repertoire of expressions that so far have characterized them . SM Ricardo Arce: Animator and researcher, is an Associate Professor at the Universidad Jorge Tadeo Lozano, where he coordinates the area of animation programs in Graphic Design and Technology Direction of Audiovisual and Multimedia. It is a founding member and current President of the Colombian chapter of the International Association of Animated Films, ASIFA Colombia, and member of the Board of ASIFA International. He studied Graphic Design at the Universidad Nacional de Colombia, with specialization in TV at Pontificia Universidad Javeriana and the Master of Aesthetics and Art History at the Universidad Jorge Tadeo Lozano. He is coauthor of the book The animation in Colombia until the late 80s, published by the UJTL.

Carlos Animated González en series Sabados “Migropolis”, Gigantes2013 1987

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DANIEL ARRIAGA

The story behind the creator of the renowned Lotso Bear from Toy Story 3 Often stood before the door of Pixar hoping to find a job opportunity. When he did, he sought advice with the most experienced to develop their artistic potential. So he walked up to the character design department, where his potential and ability were reflected in the large number of characters he have done. Solomonos Magazine contacted him and wanted to know more in depth about his career.

By Pamela Riveros RĂos

“What can you tell us about your project” The Pixar Storyline “and how this idea came? This came from a freelance job I had for a company called Collectors Editions. Corresponded to an original piece that incorporated all Pixar films so far, in an illustration. “I did not want to mix the worlds and instead I lay them down, then I could create something with the color line all the movies”.

While he was studying Animation and Illustration in the Academy of Art College (from the spring of 1999 till 2001) in San Francisco, United States, Daniel Arriaga wanted to work and do what he love: to draw. That is why, he made three tries to enter as soon as possible to Pixar. And so it was.

must have: perseverance.

His persistence made him take leap in his career from the Department of Simulation and Effects in Art, working as a production assistant. However, one important steps was becoming a Sketch Artist, in the same studio, where he developed one of the most recognized worldwide creations: Once inside he left school because he felt he was learning a the Lotso Bear “Toy Story 3”. lot more in that studio He was working for a long period as a production assistant in the Department of Simulation and Adding in his career, Daniel Arriaga has participated in a Effect, but he wanted to create and draw. At this point, he large number of animated films, which include “Monster asked for guidelines to the renowed Tony Fucile (“The Iron Inc.”, “Ratatouille”, “Up” and “Wall-E”, among many Giants,” “The Incredibles”), who beyond teching him what others. animation was, showed him what an entertainer at heart

In 2009 he work briefly in Disney Studios, where he work for “Fix it Felix” and the character design of Ralph in “Wreck-It Ralph”. However, he returns to the studio that welcomes him, Pixar, where he was recently promoted as Art Director Character for the next film by Lee Unkrich. Given this long portfolio, Solomonos Magazine wanted to interview him and ask him about his career, and the recipe to become the featured entertainer he is today. Daniel, could you point us what animation has-been a reference for you in your creations? Do you have any series or movies that has influenced your life as an animator? All Disney and Warner Brothers’s classics. I love the classic style of the drawings of those movies. One of my favorite Disney animators that has influenced much of my career is animator Milt Kahl. I wanted to stay in the studio, so they found a room for I have to emphasize that my favorite animated movie is me in “The Incredibles” as a production assistant in the “The Iron Giant”. I love the design of this film that devised Department of Art. After three years of determination Teddy Newtoin and Tony Fucile. A great inspiration for me! and hard work, I was finally sent as a Sketch Artist to “Ratatouille” where I worked with Harley Jessup. How was entering Pixar? Did you try many times to work with them? How was the transition from Simulation and Is there any artist or colleague in Pixar or Disney that Effects department where you were assistant to the artistic dazzle you and has been a benchmark for your career? side? I love many of my colleagues. Many of them have been I tried Pixar three times while I was in college and was an important part of my career. The highlight one is Tony eventually hired temporarily by them in May 2001, in Fucile. He is a genius animator and a spectacular designer. the Department of Simulation and Effects, as a production I met him in “The Incredibles” where he was the director assistant for “Monsters Inc.” of Art Character and an animator mentor when I was as a production assistant in the Department of Art.

Tony took me aside and inspired me and made me feel that I could do whatever I wanted to do. Much of my design process comes from him. Regarding your work as an animator, how do you start your creative process to reach the final character design? My creative process to have a final design depends on an extensive search of references, mentalized to find an authentic design and unique character. After drawing a lot and look for references, I show my designs to the director of the film and he gives me a feedback, which I use to continue the character design.

After much insistence and annotations, we got the approval of the director and began to model it on the computer, where I work with the modeler to bring the character to life. Once it is modeling and approved, we deliver it to animators, so they can do the magic.. What positive things you learn from Pixar and Disney? I learned that is not something individual, but a teamwork. Collaboration is one of the most powerful things in a work environment. Also, I realized that everything is possible with hard work and lots of dedication. I live my life trough three “states” that I have observed throughout my life: “Be positive, be hungry, be humble”. What characters have you created for these two studies? I have created a number of characters but the most recognized I have done is the Lotso Bear (Huggin Beart) of “Toy Story 3”. In this film also made the children from the nursery, the concierge, the mother of Bonnie and her toys, and Lotso’s gang. In Disney I worked on “Fix it Felix” and in Ralph of “WreckIt Ralph”. Now I’m back where I was at Pixar where is was in “Inside Out” in the design of Riley, her mom and dad, along with the character of Disgust, one of Riley’s emotions. I was recently promoted to director of Art Characters in the next film by Lee Unkrich, where I oversee the entire character design. I’m really excited about this new project.

As we can see, you like teaching. How does this influence your career as an animator? Teaching has brought me so much that I cannot explain in words. When I teach others I feel I am also teaching myself. As I said earlier, I am always humble and never feel satisfied. The energy that students bring to class reminds me of when I was in school, and how blessed I am to be able to do in my career that I love. It helps me appreciate my life and, in a smaller way, I feel I am giving back a glimmer of hope for the next generation of artists, permitting them to upgrade. SM

Daniel Arriaga ÂŠDISNEY/PIXAR

This project has been funded by the Audiovisual Development Fund.

CHILEMONOS

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