Tag: animation

REVIEW: 2020 Oscar Nominated Shorts – Animation.

niezi Leave a comment
List:
Hair Love – Matthew A. Cherry and Karen Rupert Toliver
Dcera (Daughter) – Daria Kashcheeva
Memorable – Bruno Collet and Jean-François Le Corre
Sister – Siqi Song
Kitbull – Rosana Sullivan and Kathryn Hendrickson

The Bird and the Whale (Highly Commended)
Henrietta Bulkowski (Highly Commended)
Hors Piste (Highly Commended)
Maestro (Highly Commended)

—

Hair Love, Dcera, Memorable, Sister, and Kitbull are contenders for this year’s Oscar nominated shorts in animation, and The Bird and the Whale, Henrietta Bulkowski, Hors Piste, and Maestro are highly commended films also playing at Michigan Theater. Like every year, the style and media of the films differ tremendously, each with its own merits that make it an interesting watch.

The series opens up with Hair Love, a film that’s full of pastels and backgrounds that look like it’s been coloured in with pencil crayons. It’s heartwarming and sweet, and although it’s not as visually rich as some of the other shorts, the pacing in its storytelling is perfect. A father does his daughter’s hair for the first time with a little encouragement – an interaction that develops their relationship in the absence of her mother.

Although Hair Love was produced by entertainment giant Sony Pictures, it feels pretty organic. People need people, and the film does a good job capturing that spirit when the father and daughter bond and rely on each other when their family fabric is pulled and twisted by the lack of her mother’s presence.

Daughter (Dcera) has the momentum and framing of motion picture cinematography. The characters look imperfect, textured puppets with painterly faces, an expressiveness teased out with an unflinching gaze. The camerawork, jarring and claustrophobic, frames the tenuous relationship between father and daughter. Despite the closeness of the camera, there is an endless distance between the two, and the short film takes us to a quiet hospital room to reflect on the course of their relationship and the moments lost so long ago.

Daughter is beautiful and sad. The yearning for love and comfort is pinned delicately in scenes like butterfly taxidermy. There is no dialogue, but Daughter doesn’t need any to convey the emotions told through space and time, through elegantly laid out shots and a silence that stretches between father and daughter until a bird flies into the hospital window.

Memorable follows in the same vein using puppets full of post-impressionistic strokes. Louis, a painter, watches the world around him become strange, surreal, and unfamiliar. The film is imbued with the style of van Gogh in many scenes. It turns his perspective into works of art – a cellphone puddles into moving shades of gray, his family members’ faces become molded and abstract, and his wife becomes nothing more than a few brushes of paint. Life around him falls apart until he is left in an empty world with only himself in it.

The soundtrack is also stunning, just as vivid and as bright as the visuals. When the world around Louis disintegrates and the music fades, the sense of loss feels personal and profound. Memorable does a good job building up this moment. First, the details are lost, turning people and objects into broad strokes. Then the meaning is lost, the paint pooling and disappearing.

We see a different kind of loss in the short film Sister, an exploration of things that could’ve been. The film is very tactile; the textures used lends itself to the distinctiveness of the animation. In a scene, the brother pulls on his giant sister’s belly button, the cottony material used to make the puppets twisting like an umbilical cord out of her until he lets go and she deflates like a balloon. Everything looks very soft and sweet, finished with a muted colour palette of black and white and a faded red.

Despite its subject matter, Sister touches very lightly on the political aspect of China’s one child policy, alluding to it in post-film dedication. Instead, it focuses on the emotions of the narrator, the feeling of loss of not just a person, but an entire life missed because of it. Shots of mundane, every-day life are intertwined with surreal imagery to tell the story of Sister.

Kitbull is very cute, cushioning some of the gloomy undertones. It’s not as emotionally heavy-handed as a few of the other shorts nominated, but there’s a sweetness that prevails. The animation is descriptive; each expression and emotion is detailed through the movements of the stray kitten and the pitbull, even though their art is relatively simplistic. The two characters slowly grow closer together, helping each other get by in daily life, whether it’s from boredom or from hurt. It’s not ground-breaking or riveting, but Kitbull is still a solid film with a happy ending. It’s endearing and hopeful – a good note to end on.

Catch the Academy nods before February 9th.

REVIEW: Frozen 2

Nellie Shih Leave a comment

Warning: mild spoilers for both Frozen 2 and Rise of Skywalker. This warning will make sense in context.

While I was buying the tickets for this movie, my friend said “Quick q. So you’re here. I’m here. And our other friend is here. Why aren’t we watching Uncut Gems?” And I found myself asking that question multiple times throughout or viewing of Frozen 2.

Frozen 2 was an unnecessary sequel and it was confusing, and it also had the same plot as Rise of Skywalker: a young woman with mysterious powers that nobody else has and that she cannot properly control finds out her grandfather is evil. She then embarks on a solo quest to understand both who she is and how to fully utilize her powers. A young man, while waiting for the young woman to come back from her solo quest, meets someone of a similar background as him and they talk about being sensitive to/having conversations with strange forces/reindeer – things that do not actually talk back to these individuals (a bit of a reach, I know, but hear me out on this next part). During the solo quest, the young woman crosses treacherous waters to reach an abandoned wreck from a previous film.

Now, you may be wondering, which movie was better? I preferred Star Wars because I found Frozen to be quite confusing at times. I did not understand a lot of basic plot points, which I don’t think is the mark of a good movie. The premise of the film is that Anna and Elsa have to free the Enchanted Forest, but they never made it entirely clear what they were freeing the Forest from. The Forest is closed off from the rest of the world by a force field that is never referred to again, even when the curse (?) is lifted. In fact, certain characters leave the forest area at some points during the movie even though the force field should be keeping them in the forest.

I felt like the movie was, in general, unnecessarily vague. It doesn’t really feel like there’s a point to Anna and Elsa’s quest – they’re chasing after a mysterious voice that only Elsa can hear, and when she stumbles upon the truth about her powers, the truth is kind of irrelevant. The truth about the origin of her powers is not significant at all when she and Anna finally save the day. The movie tries very hard to be mysterious to keep the audience engaged, but they never explain anything, and shrug off any plot holes by trying to distract the audience with Olaf and a cute fire-breathing lizard.

Maybe I thought the first film was leagues better than its sequel because I’m not exactly part of the target audience anymore. Judging by the squeals of joy and high-pitched laughter, the kids in the audience seemed to enjoy the movie. However, I did enjoy some aspects of the film. Elsa’s two new songs, “Into the Unknown” and “Show Yourself” showcase Idina Menzel’s incredible talent and vocal range, proving she always fails to disappoint Visually, this film has some stunning animation, especially the scene where Elsa is crossing turbulent waters, creating platforms of ice to run across. In another scene, Elsa is exploring a dark cave-like area which is actually supposed to be an ancient river, and her surroundings are black but contrasted with blue and purple geometric ice crystals. This scene was also reminiscent of the scene in The Last Jedi when Rey falls into the pit and goes through a series of visions, but I digress.

Overall, Frozen 2 is not a bad movie. The first one is 100% the better film and there was really no need for a sequel, but if you don’t take it seriously, it can be enjoyable. The music is great as expected, and it is a very visually appealing film. Still, I wouldn’t recommend you rush to the theater right this second to watch it.

REVIEW: 2019 Oscar Nominated Shorts: Animation

Angela Lin Leave a comment

The 2019 Oscar Nominated Shorts in the Animation category explore similar themes of family and time, evoking certain emotions over and over again.

Many of the shorts, including Bao and Weekends, were autobiographical. Bao, Disney Pixar’s short released with Incredibles 2 and applauded for its cultural representation, tells the story of a lonely Chinese mother and one of her dumplings when it comes to life as a little dumpling boy. This narrative with animations characteristic of Pixar plays with the idea of parental possessiveness and the need for familial love and attention, taking a harrowing turn at the end that leaves one to wonder the costs of overprotection. Also featuring an Asian-American family is One Small Step, the cleanly-drawn animation about big dreams and realistic achievements. Through the passage of time, Luna must grapple with her dreams of being an astronaut and the obstacles in her way, supported by her single father the entire time. The crisp 3D animation was certainly appealing, turning this “dream-chasing-believe-in-yourself” storyline into something fresh and emotional.

Another short that deals with family is Weekends, a hand-drawn melancholic tale of childhood after a recent divorce. The absence of dialogue brings all the focus onto the universal mood of this film, as a child bounces between homes and lives and relationships evolve as a result, offering a compelling story of a fractured family with purely the art of animation. Late Afternoon looks at the painful issue of memory loss, as Emily, an elderly woman, goes through old memories in order to make sense of the present. Through the use of color, Emily was able to weave through all the different memories, and the flow through time between the present, the subconscious, and the memories. The emotions associated with memory loss was heightened with the use of water throughout the film, washing over her as she searches for clarity.

The last nominee shown, Animal Behaviour, features anthropomorphized animals in a group therapy session. As the most comedic short in the featured films, it is filled with crude animal jokes based on their natural traits until an ape gets going and sets off the dog therapist. The lineup also included two additional selected shorts, Wishing Box and Tweet Tweet. Wishing Box introduced us to a greedy pirate and his hungry monkey companion who come across a box that will give you anything you wish for, while Tweet Tweet gives us the courage to balance on a tightrope as a girl befriends a sparrow who guides her throughout her life.

All the short films used a variety of animation styles, opening my eyes to how diverse animated films can be. From the scratchy and homey feel of the hand-animated Weekends to the colorful, flowy vibe of Late Afternoon to the crisp 2D-on-3D animation of One Small Step, the animation nominees were all both visually appealing and emotionally resonant.

REVIEW: Into the Spider-Verse

Fareah Fysudeen Leave a comment

Image result for into the spider verse

The last animated film I fell in love with was Zootopia from a couple years ago, but there’s no doubt that Into the Spider-Verse has indefinitely exceeded it. The animation is utterly breathtaking and alive, capturing all the inter-dimensionality of the storyline and the true vivacity of New York City. The movie is also written exceptionally well with an engaging and relatable main character, Miles Morales, a Afro-Latino thirteen-year-old growing up in Brooklyn. Overall, the movie is a powerful addition to the Spiderman canon with a positive lead character who is a person of color– and, more than anything, all this in combination with its stunning animation and art style make it one of the best animated movies I’ve ever seen.

Into the Spider-Verse follows the story of Miles Morales, a nerdy, artistic teanager in boarding school in New York City. His African-American father is a cop, his mother Puerto-Rican, though Miles is closest to his Uncle Aaron. On a night when Miles and his uncle are spray-painting a tunnel in the Subways, Miles gets bitten by a radioactive spider, giving him the powers of Spiderman. After witnessing the death of Peter Parker, Miles realizes that there are many other spider-people just like him who have similar powers– and they must all team up to close a dangerous breach in the fabric of their spacetime dimensions.

The character for Miles Morales was created in 2011 by writer Brian Michael Bendis and comic artist Sara Pichelli, drawing inspiration from President Barack Obama. What I loved about this movie (and what a lot of people seem to want from Spiderman) is how it added a new personality and perspective to Spiderman. Miles seems like a very authentic and relatable kid going through the ups and downs of growing up, which is all exacerbated by his newfound spider powers. His ascent to heroism is believable and admirable, as he struggles and fights to fit into the burden and responsibility of being a superhero. Miles isn’t a flashy, flaunting superhero– he is genuine, down-to-earth, and, even when he’s out saving the world, the audience knows that the guy behind the mask is just a kid from Brooklyn who loves art and is still finding his place. He seems to be one of the most human superheros in the universe, and I love that. The characters and relationships in this movie are written exceptionally well– it hits a sweet spot between funny, touching, and inspirational. I loved laughing at the jokes as much as I loved watching the conflict escalate.

Image result for miles morales into the spider verse
Miles wears a cheap Spiderman costume because he doesn’t have his own yet.

The best part about the movie, however, the part that still keeps me coming back to it, is the visual spectacle. The movie is bursting with color, liveliness, and utterly perfect animation. The style is quite realistic with a comic twist, almost as if the pages of a comic book had just come to life, dancing with color and movement. The accompanying soundtrack features artists like Nicki Minaj, Lil Wayne, and Post Malone, and it is fresh, original, and fits the movie so well– just like what Miles Morales would listen to. The movie is an absolute feast for the eyes and ears.

If you get the chance, I highly recommend this movie. At the very least, it’s highly entertaining– at the most, you will have come out of the theater with a thrilling visual experience and met the best spiderman yet.

REVIEW: Loving Vincent

Jhoanne Castro 1 Comment

A painting in motion — Loving Vincent. Brushstrokes that mimicked the iconic artistry of Vincent van Gogh’s own paintings moved to tell the biography of Vincent in a never-before-seen feature film. An hour and thirty-four minutes of animated paint, in the style of Vincent van Gogh, was an exquisite film that I felt honored to behold with my own two eyes.

It was a rainy Sunday night, with the typical wind chills of early November in Ann Arbor, when I went to see the film with some of my colleagues. We had just come from a fantastic dinner of pizza, including margherita pizza — my favorite kind of pizza — and joined the ranks of Loving Vincent moviegoers lined up outside of Michigan Theater.

Luckily, we had arrived just in time not to miss the beginning of the film itself. The whole lot of us settled upstairs in the balcony, appreciating the extravagance of the Michigan Theater’s classic theater setting and ambience. As soon as we settled into our seats, the lights dimmed and the screen flitted between trailers of upcoming indie films and the like. And then, at long last, Loving Vincent painted itself across the screen.

In a word, Loving Vincent was…divine. Artistic. Exquisite. Every second of it, quite literally the epitome of a painting in motion, enraptured the audience with its imagery.

Honestly, the second the movie opened, I was already mesmerized by the names rolling on the screen through their careful and immaculate brushstrokes. I was watching the lines of colors, imitating Vincent’s illustrious and iconic style, move across the screen in unison to depict movement. It was enrapturing.

I felt chills go down my spine.

The movie opens with the most renowned and perhaps most well-known work by the artist: Starry Night — hooking every audience member with its fine brush work and celebrated imagery as one of the most historically reputable works of art. It was so meaningful to see that be the opening scene to a film revolving around the artist, to whom the film is dedicated for, I was just captivated and touched by it. And then, when that Starry Night picture began to actually move, animated brushstrokes depicting the scene, my heart melted. Such an extraordinary picture transformed into a setting for a narrative to take place. It was the most fitting way to tell the biography of Vincent van Gogh.

As for the narrative itself — the story follows Armand Roulin, who is to hand-deliver a letter from Vincent to Theo van Gogh, Vincent’s brother. In this narrative, Armand learns more and more about the late artist Vincent, who had been a new artistic sensation in Paris at 28 but took his life while at the verge of his own impending success as an artist. Although skeptical and critical of Vincent in the beginning, Armand slowly grows wistful and fond of him. In fact, Armand even comes to Vincent’s defense when bad gossip arises and surrounds his death and reputation.

I’ll spare you all the details, but basically — the film follows Armand, a man who seems far detached from having any relation or kinship with Vincent van Gogh, and Armand’s journey to find the truth behind Vincent’s death — whether it was a suicide or a murder, what his motives were, who Vincent van Gogh truly was.

Ultimately the film really is a biography of Vincent van Gogh, which doesn’t lend itself to having that much opportunity to deviate from reality and express creativity and imagination as wildly as possible, as one might expect from an animated film. I have heard criticisms of the writing in Loving Vincent that claim the story is hard to follow, but they heralded the artistry of the film itself. Animation is a breathtaking craft, and it’s painfully difficult, and being able to dedicate an entire feature film of animated oil paintings for Vincent van Gogh is truly the only way to express his biography, I’d say. I personally don’t have a bad opinion of this film, having been so mesmerized by the immaculate craft of the moving pictures.

Now, my colleagues and myself hail from the art and design school at the University of Michigan, and inevitably we were drawn by the uniquely beautiful craft of the film, especially because we all express an interest in the art of animation. Safe to say we were all very moved and absolutely amazed by the sheer amount of work and effort required to make Loving Vincent and transform his most distinguished and impactful works of art into moving pictures.

If you have not seen Loving Vincent, I hope you at least consider it! If not for the story or biography of the great artist Vincent van Gogh, then for the beautiful craft of the film and its hundreds of artists who carefully painted and animated each frame of the film.

Go and love Vincent!