Horvath, carte blanche animated films
Horvath, Dans la peau, 2007, 11’
Youri Norstein, Le
conte des contes , 1979, 26’
Jan Svankmajer, Les possibilités
du dialogue, 1982, 12’
Raoul Servais, Harpya, 1979,
Piotr Kamler, Chronopolis, 1983, 52’
28 September, 8 p.m.
premier of his latest short film, we have given carte blanche to Zoltan Horvath
(CH, 1966, lives and works in Geneva). The artist will present his film Dans la
peau, which was chosen for the short-subject competition at the 2007 Venice Film
Festival, along with four works by animated filmmakers who have especially influenced
Horvath, Dans la peau, 2007, 11’
a simple bit of flirting one night on a beach tips over into the fantastic, everything
blends, merges, becomes confused: sex, tattoos, fantasies and mythology…
film exists at the point where reality and animated cinema meet. The work proved
a technical challenge requiring enormous preparation. As the film’s title
suggests, Dans la peau (In the Skin) is above all a story about the flesh, a story
about skin. A beautiful skin, young and enticing, but also alive, salty, clammy,
sweaty. It’s a kind of small allegory about exhilaration, excitement, fantasies,
abandon and the wounds that the sexual act sets in motion. He plays with the multiplicity
of symbols that surround sex.
yet in no way contradicting the film’s overt eroticism, humor and drama
pervade the piece, in the play of phallic symbols (the tattoos), the myth of the
sirens, the connections between the actions of the tattoos and those of the couple,
not to mention the story’s final twist.
la peau is a far cry from the sophisticated and conventional eroticism encountered
in advertising. The grain of the image is influenced by the light of course, but
also by the transparency and warmth of the skin. The images are always quite straightforward
about showing bodies. Thus we see forthright, unadorned images, although they
are transcended by the vibrant, shimmering drawings of the tattoos. (Zoltan Horvath)
Zoltan Horvath, Dans
la peau: recorded and animated images, in 2 and 3D ; 11’; 35 mm and
Digit Beta, 1:1.77; Dolby digital sound; a production of Nadasdy Film and Vivement
Lundi!; coproduced by SSR SRG Idée Suisse, Arte France, Telegroup AG.
Norstein (RU, 1941), Le conte des contes,1979, 26’ (Arkéions
Taking shape around a very popular nursery rhyme in Russia, the film
conjures up autobiographical memories. A cat slinks around a shoe, a birch log
springs back to life, butterflies, beetles and bees flit about and feast. Rain
feeds the earth and dusk ebbs away at the end of the street… Named the
best animated film of all time at the 1984 Olympiad of Animation in Los Angeles.
Svankmajer (CZ, 1934), Les possibilités du dialogue, 1982, 12’
- (Chalet Pointu)
Characters formed from objects as in the painting of Archimboldo,
figures fashioned from clay, and two men who pull things from their mouths constitute
a human comedy in which the dialog skids towards utter chaos. Called in 1990 the
best short film in all of the Festival of Annecy’s 30 years.
Servais (B, 1940), Harpya, 1979, 9’ - (Centre du Film)
a late-night walk, Monsieur Oscar witnesses an attack and discovers, to his great
surprise, that he’s just come to the aid of a real harpy. Any interest he
takes in her is not without its risks! This film was awarded the Golden Palm for
short films at the 1979 Cannes Film Festival.
Kamler (PL, 1936), Chronopolis, 1983, 52’ - (AAA productions)
The film relates the fable of Chronopolis, an immense city lost in space.
Its inhabitants’ only pastime and sole pleasure is manufacturing time. Thus
they create all kinds of instants with which they devote themselves to playing
Youri Norstein, Le conte
des contes | |
possibilités du dialogue
Raoul Servais, Harpya |
Piotr Kamler, Chronopolis