Director, Artist, Script, Animation – Sasha Svirsky
Composer, Sound, Music – Alexey Zelensky
Used a fragment of Erik Satie Gymnopedie # 3
Assistance – Nadezhda Svirskaia
Synopsis:
A story about a soldier who fights in a global war between robots and humanity. Once he was wounded in action, then a robot-woman helped him to get well. They fall in love but humanity as well as robots don’t want to accept this love.
Festivals and screenings:
– Premier: Brusov ship, Muzeon park, Moscow, Russia, 6th of October, 2015
– Big Cartoon Festival, Moscow, Russia, November 2015
– Open Russian Festival of Animated Film, Suzdal, Russia, March 2016 – the Diploma in the short film category
– 28th FILMFEST DRESDEN, special program, Germany, April 2016
– 13th Festival for Short Film, Animation & Music Video, Animation Avantgarde program, Austria, Vienna, May 2016
– Future Film Festival, Bologna, Italy, May 2016, competition program
– World Festival of Animated Film – Animafest Zagreb 2016, GRAND COMPETITION – SHORT FILM program, Croatia, June, 2016
– Annecy International Animated Film Festival, Out of Competition, France, June, 2016
– 7th Golden Kuker-Sofia, International Animation Film Festival, July, 2016, out of competition
– XII Lago Film Festival, Italy, July 2016, special program
– International Animation Festival Hiroshima, Japan, August 2016, competition program
– Festival International du Film d’Animation de Paris, France, 13-18.09.16
– 12th Korea Independent Animation Film Festival, Seoul, South Korea, 22–27.09.16
– International Kansk Video Festival, Russia, Moscow, 22-27.09.16
– Libelula International Animation Festival, Barcelona, Spain, 24-23.09.16
– ANIMASIVO, Mexico City Contemporary Animation Festival, 28.09 -01.09.16
– CutOut International Animation and Digital Art Festival, Querétaro, Mexico 17-20.11.16
– International Animated Short Film Festival “AJAYU”, Puno, Peru, 02-05.11.16
– ZubrOFFka – International Short Film Festival, Bialystok, Poland, 7-11.12.16
– VOID International Animated Film Festival, Copenhagen, Denmark, 26.01.17
– Third Culture Film Festival, Hong Kong 21-24.04.2017
– XV Cine Pobre Film Festival 2017, La Paz, Mexico, 4-7.05.17
– The WE Festival, Maastricht, Netherlands, 13-20.05.17
– Kinolikbez Short Film Festival, Saint-Petersburg, Russia, 24-26.06.17
– Krok International Animated Film Festival, Moscow – Saint-Petersburg, Russia, 2017
Prizes:
– The SPECIAL MENTION in the professional short film category – Open Russian Festival of Animated Film, Suzdal, Russia, 2016
– The BEST MUSIC AWARD – Third Culture Film Festival, Hong Kong, 2017
Dozens of immigrants climb onto an overcrowded truck. Their goal: to escape to Europe. When they arrive after an exhausting journey, another brutal reality awaits them: the European treatment of refugees.
„Bon Voyage“ is this week’s Staff Pick Premiere! Read more about it here: http://ift.tt/2yI4sOa
Script & Director: Fabio Friedli
Animation: Nils Hedinger, Martin Waespe, Fabio Friedli
Starring: Linford Boateng, Nik Rechsteiner
DOP & Light: Janosch Abel
Sounddesign & Mix: Thomas Gassmann
Foley: Dieter Hebben
Production: Gerd Gockel, HSLU Design & Kunst, Animation
Respect all as thine self.
In 2007, my sister was asked out on her first date. We were in middle school. It all happened on Google Chat. These are the transcripts.
http://ift.tt/2z9dRxs
Created by: Jack Anderson
hello@jackanders.com
jackanders.com
Music:
Comfortable Mystery 3 – Film Noire by Kevin MacLeod is licensed under a Creative Commons Attribution license (http://ift.tt/1bFo3O7)
Source: http://ift.tt/1SA1qOg
Artist: http://incompetech.com/
Rhodesia by Twin Musicom is licensed under a Creative Commons Attribution license (http://ift.tt/1bFo3O7)
Artist: http://ift.tt/1NOhxSZ
MONA LISA SELFIE
Over 6 million people visit the Mona Lisa at the Louvre each year.
Many share their visit on social media.
A film by DANIEL MCKEE
Music by ISAAC STERN
This video was made using images found on Instagram.
EPISODES 1-3 OF POOL SCUM edited together for your viewing pleasure. Set in California in the illustrious 80s, POOL SCUM, follows the showdown of two arch nemeses on the path to backyard pool greatness.
Made by Movie Mountain, check us out on Instagram @moviemountain and Patreon http://ift.tt/2m0MqAU.
Director of Photography and Special Effects Supervisor: Matt Emmons
Lead Fabricator and Set Builder: Kai Korsmo
Animator: Kyle Stephens
Wardrobe and Puppet Builder: Alexa Schreck
Miniature Botanical Wizard: Timothy Huntington
Matte Painting: Adam Burke
Sound Design: Warren Lee
Additional Help: Shelby Menzel, Henry Annand, Tucker Gorman, Mel, David Wien, and Phillip Annand
Director: Foster Huntington
Ruff Mercy visuals on a Teardrop Estates (Ross Harris) tune featuring that kid lurking in the woods Frank Leone and the legendary Gary Wilson. Mixed by Jake Viator at Stones Throw Studios. Buy or stream it here http://ift.tt/2lz0cdG
In the 1950s, a wave of “method actors” took Hollywood by storm.
Actors like James Dean, Marlon Brando, and Montgomery Clift, brought a whole new toolset and perspective on the actor’s craft to the films they performed in.
The foundation of their work, however, was laid in Russia more than fifty years prior to their stardom.
Stanislavski’s conception of “psychological realism” in performance challenged ideas about the essential features of the actor’s craft that had been held for centuries.
In theatre before Stanislavski, acting was defined as a craft of vocal and gestural training. The role the actor played was to give life to the emotions of the text in a broad illustrative fashion. Formal categories such as melodrama, opera, vaudeville, and musicals, all played to this notion of the actor as chief representer of dramatic ideas.
Stanislavski’s key insight was in seeing the actor as an experiencer of authentic emotional moments.
Suddenly the craft of performance could be about seeking out a genuine internal experience of the narrative’s emotional journey.
From this foundation, realism in performance began to flourish. This not only changed our fundamental idea of the actor but invited a reinvention of the whole endeavor of telling stories through drama.
Teachers would adopt Stanisvlaski’s methods and ideas and elaborate upon them in American theatre schools. The result, in the 1950s, would be a new wave of actors and a style of acting that emphasized psychological realism to a greater degree than their peers in motion pictures.
This idea of realism grew to dominate our notion of successful performances in cinema. Stanislavskian-realism is now central to the DNA of how we direct and read performances, whether we are conscious of it or not.
I think it is important to know this history and consider its revolutionary character. Understanding the nature of Stanislavski’s insights allows us to look at other unasked questions, other foundational elements of our craft that we might take for granted.
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Stanislavski’s books are still fascinating explorations of the craft of performance.
Check them out:
An Actor Prepares: www.goo.gl/8CR551
Building a Character: www.goo.gl/pZR1U4
Creating a Role: www.goo.gl/ato2rZ
The Stanislavsky System: www.goo.gl/JDGkfK
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Visual References: A Place in the Sun, A Streetcar Named Desire, Anatomy of a Murder, Baby Doll, Before Sunset, Blue Valentine, Carol, Cat on a Hot Tin Roof, Daisies, East of Eden, Giant, Grandmother, Kid Auto Races at Venice, Moonlight, On the Waterfront, Somebody Up There Likes Me, Splendor in the Grass, Taxi Driver, The Breaking Point, The Heiress, The Conversation, The Misfits, There Will Be Blood, Twentieth Century, Vaudeville: Early American Entertainment, Wild River
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Patreon: http://ift.tt/2rin03Q
Twitter: twitter.com/travratc
YouTube: http://youtube.com/c/LuxVeritas