Within the world of animation, most experimentation occurs within short format productions, whether they be high budgeted commercials, low budgeted independent shorts, or something in between. The growing number of short film festivals around the world attest to the vitality of these works, but there are few other venues for exhibition of them or even written reviews. As a result, distribution tends to be difficult and irregular. On a regular basis, Animation World Magazine will highlight some of the most interesting with short descriptive overviews.

If you have the QuickTime plug-in, you can view a clip from each film by simply clicking the image.

This Month:

Aria (2001), 10 min., directed by Pjotr Sapegin, Norway. Info: David Reiss-Anderson. Email: david@pravdaproductions.no.

Hubert's Brain (2001), 17.5 min., directed by Phil Robinson, U.S. Info: Jeff Fino/Wild Brain, 2650 18th St., San Francisco, CA 94110, U.S. Tel: 415-553-8000. Email: jefff@wildbrain.com.

Shadow Cycle (2001), 21 min., directed by Oscar Grillo, Argentina/U.K. Info: Klacto Animations, 11 Gordon Rd., London W5 2AD, U.K. Tel: 208-991-6978. Email: klacto@klacto.com.

The Snowman (2001), 5.5 min., directed by Lane Nakamura, U.S. Info: Mark Medernach, Duck Soup Studios, 2205 Stoner Ave., Los Angeles, CA 90064, U.S. Tel: 310-478-0771. Fax: 310-478-8773. Email: inbox@ducksoupla.com.

War Game (2001), 29 min., directed by Dave Unwin, U.K. Info: Iain Harvey, The Illuminated Film Company, 115 Gunnersbury Lane, Acton, London W3 8HQ, U.K. Tel: 208-896-1666. Fax: 208-896-1669. Email: iain@illuminatedfilms.com.

Aria. © National Film Board of Canada, 2001.

Aria
Pjotr Sapegin's singular retelling of Puccini's Madama Butterfly employs anatomically incorrect puppets and stop-motion photography to create a film that straddles the line between sublime and ridiculous; which it finally favors will depend very much on the sensibility of the viewer. Sapegin emphasizes the artificiality of the minimalist outdoor environment, the characters and the props, while incorporating a number of striking, surreal touches (a fish-like fetus, the mother-child relationship conceived in terms of kite-flying, and, most dramatically, the central character's ultimate self-deconstruction). He also plays with cinematic conventions by bringing the film's music (excerpts from the opera, including the famous aria, "Un bel di vedremo") into the story, and by having Butterfly essentially leave the set to commit suicide. The work's ambiguities and the mixed feelings it evokes all seem calculated and, while the overall effect may not be fully satisfying, it's a strong and well-conceived piece.

Pjotr Sapegin was born in Russia, where he worked in theater, and moved to Norway in 1990. Currently head of the animation department for the production company, Pravda, he's made about a dozen independent shorts in as many years. While shaped primarily by his theatrical experience, he also mentions Jan Svankmajer, the Quay Brothers and Nick Park as influences (although if Aria is reminiscent of any film in my experience, it would be Todd Haynes's extraordinary Superstar: The Karen Carpenter Story). Aria was financed by the Norwegian Film Institute, the NFB and Pravda, and had its premiere at the Montreal Film Festival.