Filmmaker and pedagogue Martin Kukal occasionally makes music videos. One of his latest creations is the music video for a song by Sváťa and Martina from the town of Slaný, set near the Red Pond and starring various good-natured ghosts and fairy-tale beings.
The Norwegian director’s abstract animation works with floating and unstable organic shapes. Constantly moving, they create entirely new forms. The film’s plasmatic structure unusually combines digital images with natural motifs and conveys feelings of cold and warmth.
On a night walk, a couple in love come across a frog who’s definitely not interested in their attention. The frog, her child and other creatures of the forest rather allow themselves to be carried away by the wild rhythm of the electronic music by Czech performer Johuš Matuš, secretly hoping that the uninvited guests will leave soon. The music video’s co-director Julie Černá worked with Johuš Matuš on her acclaimed film The Stone of Destiny.
A charming touch of craftsmanship, carefully chosen colour palette and the quiver of cutout animation particularly evident in animated flames make this music video a suggestive spectacle. By repeating distinctive motifs to the hypnotic tones of the song, it acts as an audiovisual spell.
Were we equals, or were some of us just using others? This non-narrative film explores the possibilities of textile materials and techniques in conjunction with the moving image. A musical composition by the artistic duo Nadváha is stitched by the repetitive sound of a sewing machine.
A short and captivating non-narrative animation by Polish filmmaker.
In India, cultural practice requires young girls to be dedicated to a Hindu temple, becoming temple dancers, serving its deity and priests for life. At the dedication ceremony they receive Muttu – a red and white necklace symbolizing their status. In a few short minutes, the director succeeds in building an oppressive atmosphere by using, among other things, traditional Indian music.
Individual schizophrenically narrated episodes take us through the instrumentalisation of life by creating pulp (mirroring the film itself) and personifying a machine. The film is rooted in the director’s infinite hatred of computers and, in a deeper sense, explores the boundaries of resistance in the digital age.
A conversation with the viewer about the mutual influence between news and people: how news affects people, how people shape events and how events in turn become news. The story unfolds across two worlds: semi-realistic and abstract/metaphorical. These worlds complement each other, occasionally interact and often flow seamlessly into one another.
The Primanima International First-Film Animation Festival is back, marking its 10th edition in Budaörs this year. This year, the animated short films arrive earlier than usual—running from October 5 to 8—at the Mór Jókai Cultural Center and BABtér, with Saturday events also taking place at the Municipal Youth Club. In addition to screenings for adults, teens, and children, there will once again be workshops, discussions, and, of course, parties. Professional programs are taking on a new format, and Primanima Jumpstart—a hybrid talent development program—is launching as well.
An interview with Virginia Mori, the author of the short animated film Haircut (Animateka 2015 Jury Jean_Luc Slock's Special mention)
To celebrate the 20th anniversary of Wallace & Gromit we asked members of their official website to submit their questions to Nick Park. 20 of the best were selected and put to Nick in a special video interview shot in the brand new Aardman cinema!
The interview was conducted by Kata Incze and István Kürti.
Billy Roisz is one of the best-known figures on the Austrian experimental scene. Her ability to translate experimental music into visual memory images is particularly noteworthy, revealing borrowings from minimal art and conceptual art. She specializes in feedback video and video/sound interaction by using monitors, cameras, video mixingdesks, a selfbuilt videosynth, computer, a bass guitar and sometimes turntables for video and sound generating.
We interviewed Panni Gyulai, whose film *Broken Things* won the PrimAlter Jury Award at the 8th Primanima festival, while Csaba Kalotás took home the PrimaSound Special Award for the film's sound design. Panni spoke to us about the process of creating films inspired by personal experiences.
Milen Alempijević, the festival director of Animanima, who was a member of the International Jury at Primanima 2019 talks about the merits of Primanima, the challenges of organizing a festival, and about his work as a jury.
Réka Bucsi (1988) is an independent animation filmmaker from Hungary. She earned her BFA and MFA at the animation department of the Moholy-Nagy University of Art and Design Budapest. Her graduation film Symphony no. 42 was shortlisted for an Oscar in 2014. Her films were screened in official shorts competition programmes at Berlinale, SXSW, Sundance, Annecy, and won over 50 international awards. In 2013/2014 she attended Animation Sans Frontiéres (ASF), a European animation production workshop.
We asked László Csáki about his upcoming animated film, Blue Pelikán, which also features Primanima award winner Máté Horesnyi. He also shared his opinion on the films Fekete-fehér and Chris, a svájci.
Daria Kashcheeva studies animated film at FAMU in Prague. In Daughter, her Bachelor’s puppet animation, Daria experiments with camera motion and explores the topic of father-daughter relationship. The project was pitched within the CEE Animation Forum 2018. The film has a premiere at Annecy Animation Film Festival and got Cristal for the best Student film and Young Jury award in Student film section.
Experimental filmmaker and animator Blanca Rego (1974, Ferrol·Spain) discussed her creative process and introduced us to some of her abstract films.
