The International Animated Film Festival ReAnima
is very happy to announce all the winners of this first edition.
Thanks to all the animators that sent their amazing films. We made an incredible program of high artistic quality. Also we want to thank our festival partners and all the people that helped us to make this first edition a real success.
As the quality of the films was astonishing, the jury found hard to decide only one winner.
In ReAnima we truly believe that this first edition deserves more that one winner per category becuase of the quality of the competing works.
Congratulations to all the winners and the special mentioned short films. We hope to see you next year in our ReLoaded second edition with the best of international animation in Bergen. Tusen Takk!
Pixar, the kidnapping of imagination.
By Mr. Kropka
The idea that animation is a childish entertainer is quite rooted in almost all current societies that assume it as a mere form of entertainment.
After the clear infantilization of the adult public many of these films seem directly created for them. Children go more for the marketing arsenal than for the story itself, if you ask a child what they understood about the film, they will not know what to answer, they will only want the blanket, the cuddly toy or the cup with the characters. Careful, I do not want to say that children are silly, on the contrary, I think they know that those films have long ceased to be for them. The animated films of Pixar, DreamWorks, Sony, etc. found the formula of a product for children consumption that adults can afford without feeling cheated; they would believe they have seen a reflection of life in those Hollywood studios’ metaphorical stories.
Creativity is very badly rewarded in large studios, it is no secret, but the box office bonanza is always in the spotlight. And the focus of attention is not set to talent and creativity because they do not represent a possibility of economic boom; All are shades and gray. That is, a child will want a T-shirt and a Frozen thermo or a pair of shoes with the print of Inside Out. Who would want the same of The world of tomorrow or, for example, of The child and the world There is no comparison because we live in a consumerist system that has no remedy.
The ability animation has to transmit little explored feelings and emotions make it a perfect tool for these times in which we are subjected to an emotional, sensorial and ideological standardization
I recently read an article in The Awl called “The Pixar Theory of Labor” by James Douglas. Although I have my reservations - as sensible as his argument may seem - many of the ideas he exposes are interesting. For a long time I had noticed in each Pixar film a boring and too simplistic scheme to not think that the formula is stored. A formula that leads us to believe that they are the only possessors of the enlightening imagination that can give us life lessons. But I did not see as far as Mr. Douglas seems to have seen. According to him, the films of the studios founded by Steve Jobs, are a metaphor of the work life, in which the characters have, desire or have been deprived of a work. In Toy Story two characters fight for the same position, in Inside Out the father loses his job and so he has to move with his family to a new city, curiously San Francisco. Besides, Joy does not understand Sadness’ job. Moreover Monsters Inc. is about two employees trying to be the most efficient in a very competitive world. In this theory, Pixar presents characters who try to be the best at what they do or who try to prove their usefulness. So, Douglas continues, Pixar's environment and philosophy are the same; the "enviable jobs" where you have ping pong courts, sofas and breakfast, if you want to get to work earlier. The idea is to make your job seem like it is not work and that the workers do not realize they are working more, annihilating the work-rest dichotomy. Finally, to end with a theory that some accuse of conspiranoic, the worst thing that can happen to a character in Pixar films is not death, is to end up in the trash bin, either in Toy Story, Wall-E or Inside Out The worst thing that can happen to the characters is not being useful anymore.
In that capitalist logic, those who are not capable of producing and being efficient are useless and are dumped. In addition a good productive worker must consume, so the dynamics of consumerism is well impressed in the viewers’ minds, who absorb and internalize it as a natural. All of this may sound paranoid, but if we move away from what we thought we understood from the Pixar films, the interpretation proposed by Mr. Douglas is not so out of place. In any case it is remarkable how each film is very well disguised to make us believe that they are telling us another great story about human learning through tender and wonderful characters.
But fortunately there is a visible and at the same time invisible circuit of animation creators that uses this art to challenge all preconceived perceptions of reality, that face up to alleged social contracts and quasi-unique beliefs. They sincerely convinced of exploring all emotions, thoughts, feelings and stages of the human being. And many, with their animation, shout “Enough!” at political regimes. These are creators who do not have ping pong tables, nor ultra-modern studies, they are creators with an almost infinite will that stubbornly leads them to go ahead. With fame and without it. With funding or without it. What moves them is the willingness to show their inner life dialoguing with the outside world.
The animation as art is a tool that helps you feel and live emotions so far little explored in other disciplines like the painting, music or cinema. Perhaps this quality is its very condemnation as it is easier to confront and relive basic and self-fulfilling emotions provided by mainstream entertainments. The ability animation has to transmit little explored feelings and emotions make it a perfect tool for these times in which we are subjected to an emotional, sensorial and ideological standardization. In fact, animation as an art interacts with reality from different perspectives; It can be a seedbed of doubts there, where everything begins to be taken for granted.
Not only can independent animation re-interpret a world or a reality, but it is able to reconfigure it without the need of narrative or structural justifications, it does not require the viewer to be predisposed to like it by the marketing. Because of this, it more difficultly fits into a general taste. It is easier to watch a nice character with a supposed intelligence that strives to be the most efficient and to identify with him, than, for example, an experimental animation that does not require identification but can be a mirror where you can reflect, breathe and let emotions flow, without the need of a script that tells you when you should laugh, when you should cry or hold your breath. There is a form of knowing when you are watching a good animation or one that is only trying to kill your imagination, this form is its honesty. You can have independent animations telling simple stories, but they are more honest because they are made by people who have nothing to lose, who do not seek competition, who do not seek to be the best, they just want to get animation as close as possible to their vision of life. Independent animators are a very rare species that can learn from their own kind, they feed each other, they help each other and they do not judge hastily, they grow together, humbly, and there is where their success lies; They know they will never end up in the dump because nobody will ever be able to take their imagination from them.
Translated by H. Simoncig.
Spanish version in www.achtungmag.com