‘Blind Vaysha’ , directed by Theodore Ushev, 2016 | Nominated for the 2017 Academy Award® for Best Animated Short Film

“This short film tells the story of Vaysha, a young girl born with one green eye and one brown eye. But colour isn’t the only thing that’s different about Vaysha’s gaze. While her left eye sees only the past; her right sees only the future. Like a terrible curse, Vaysha’s split vision prevents her from inhabiting the present. Blinded by what was and tormented by what will be, she remains trapped between two irreconcilable temporalities. “Blind Vaysha,” they called her.

In this metaphoric tale of timeless wisdom and beauty based on the eponymous short story by Georgi Gospodinov, filmmaker Theodore Ushev reminds us of the importance of keeping our sights on the present moment.” – NFB | National Film Board of Canada

I just love the look of this film, traditional lino-cut style. It’s so beautiful!  Read more about it on Cartoon Brew’s “Director Theodore Ushev on Bringing ‘Blind Vaysha’ to Life in Four Dimensions”!

#2017OscarNomination #bestshortanimation #TheodoreUshev #NationalFilmBoardOfCanada

‘Blind Vaysha’ , directed by Theodore Ushev, 2016 | Nominated for the 2017 Academy Award® for Best Animated Short Film

El Empleo | The employment (2008), Santiago ‘Bou’ Grasso

Cortometraje de animación / animated short film

Dirección / Direction: Santiago ‘Bou’ Grasso
Idea: Patricio Plaza
Animación / Animation: Santiago ‘Bou’ Grasso / Patricio Plaza
Diseño de títulos / Titles design: Natalia Acosta
Productora / Production company: Opusbou

“The story follows an “ordinary” man on his daily routine to work. Yet, there is an unexpected twist that brings a new dimension to the narrative weight and captivates the viewer. A table and chairs are completely made up of humans folded over each other while a street stoplight is made up of two individuals hanging from a post and flashing their red or green tshirts from under their coats. Each scene is mesmerizing and further complicates our ideas of productivity and service. Is it a message about how we use and abuse each other? Or a cautionary tale about how much we rely on technology and how we may be fated to live without it?” – Paula Velasco

“…The film reminds us of how for we’ve come. And maybe even asks the question, “Where are we going?” How much more convenient can we make our lives? Think of all the effort put into creating and selling minor conveniences. Do we really need another way to slice a potato?

The film had me asking myself a rather big question—What is progress? Perhaps we need to enrich our lives with meaning rather than conveniences. A sentiment underscored by the character after the credit roll.” – 

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The Man With No Shadow (2004)| Georges Schwizgebel

“A man exchanges his shadow for richness, then, disillusioned with the result, has to be content with sevenleague boots which help him find his way. The film, very ambitious, benefits from the quality of the production by the NFB with rich sound effects. Schwizgebel takes advantage of the occasion to install the mysterious atmosphere with one of the longest and most beautiful opening sequences of his career. The use of metamorphoses makes it possible to carry out semantic shortcuts in order to deliver the story to the public. To this day, the film is the author’s most accomplished production.”

L’homme sans ombre – Georges Schwizgebel | National Film Board of Canada

Georges Schwizgebel, born in 1944 in Reconvillier in the Bernese Jura. Paradoxically, it is the influence of his parents which, at the age of 15, leads him to start training in painting at the School of Fine Arts. He meets Daniel Suter at the School for Decorative Arts. They soon dream of producing cartoons in their future studio – GDS, named after their initials (Georges-DanielSchwizgebel/Suter). Both are employed in an advertising agency. Alongside this bread and butter work, Georges, Daniel and Claude (Luyet) undertake their first attempts at cartoons in an old watchmaking studio. In 1970, an order for an animated part for two documentaries leads to the three apprentice animators turning self-employed. The team starts to produce credits for Frenchspeaking Swiss television. Le vol d’Icare earns Schwizgebel a study prize and Perspectives a quality prize of sufficient importance to enable him to produce Hors-jeu. His career as an independent film maker takes off. After two years of Chinese as a listener at lectures at the University of Geneva, Georges receives a scholarship which enables him to spend a year in China. Films follow one after the other, recompensed, as do exhibitions. Georges Schwizgebel becomes one of the best known film makers in the world of animation whose personality is relayed by documentaries and tributes | Ciné-Portrait

“Schwizgebel is a canvass painter with great musical sensitivity. With one stroke of the brush, he creates universes of transition and passage, lyrical, global works of art. And a continuous and infinite metamorphosis, each image transforms into another, a still image becomes a moving one which effortlessly surmounts temporal and spatial limits.” | Thomas Allenbach, WOZ, 2002

The Man With No Shadow (2004)| Georges Schwizgebel

My first short animation @Lasalle

Silent memento is the first -short animation that i did at Lasalle- during my diploma course.

At Lasalle College of the Arts, when i had to decide which course to take, instead of having advance placement in Fine Art, i chose Animation. Though majoring in animation was never appear as a first choice in my mind before, but to think about it, its the only art form that combines all the things that i love – drawings, motions and music. I imagined how a still painting/drawing being animated, and decided that animation art is what i want to learn more about.

 

My first short animation @Lasalle