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To my amazement, I came across animated short film The Man Who Planted Trees (1987) this week, and I was immediately swept away by almost poetical beauty of this work.

The film directed by Canadian animator Frederic Back, well known for his scrupulous, airy cinematic works, won Academy Award in 1988 for the Best Animated Short Film and competed for other festivals.

The Man Who Planted Trees is based on the short novel by French author Jean Giono (wiki link) with the same name, that first published in 1953. It tells the story of a young man, the narrator, who hiking through a desolate and windy provincial valley and old villages in the Alps and met a solitary shepherd named Elzeard Bouffier. The shepherd lives a quiet life and… planting trees every day. The narrative takes us over four decades, through two world wars, following the life paths of both the narrator and the Bouffier. 

The most that fascinated me, of course, is a beauty of simple, tranquil pencil drawings. Minimalistic faded hues of sepia-toned colour at the beginning of the film, showing broken villages and catching the bleakness of the surrounded environment with rocks and poor weeds lashed by a bitter wind, and people without hope.

And the latter half of the narrative, we see utterly different aesthetic; when brown and grey give way to rich, plentiful colours and frames finally blossomed, bringing lavishness and spectacle to all they touche. Each next scene gradually turns brighter, the animation becomes more sophisticated, highlighting the return of hope, peace and rebirth of the area. And at this point, Black’s visuals strongly reminded me of classic pointillism and impressionists such as Monet and Sisley.

It is worth to mention that watching how shapes and visuals morphing through the animation from one picture to another making almost dream-like sequences, I recall so much of two much-beloved animators Yuri Norstein and Aleksandr Petrov. Same as these masters, Back, by using traditional tools, coloured pencils and crayons, conveys chances, visualise movements and life in his works. Mastering animation over the years, he transforms the great story into the film that entrancing to watch over and over again.

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‘Bloomers’ is a short animated film that shows us the history of a Manchester-based family-run lingerie factory.

Initially made for the innovative Pan Europian feature film project ‘Happiness Machine’ that is a collaboration of ten women animators, ten different composers and Klangforum Wien. The project central theme touch on our current economic system and social aspects.

This lovely, lyrical, and a bit poetic documentary is directed by Samantha Moore.
Because the work primarily made not only for screening in cinemas but also for public concerts, sounds and music are a quite crucial role of the film. The dialogues of workers, noises of factory’s machinery are mixed with music by composer Malin Bång.

But the style of animation got my full attention during the screening. As I understand the film itself is made from observational drawings, sketches of the manufacture’s interiors, exteriors and people’s portraits. However, the story shows through the fabric texture that makes the sequence very flexible and moveable. And I became curious about it- is it a result of a digital composing or maybe drawings were made straight on fabrics?

After my research, I’ve found this making-off video, where Samantha unfold the creating process of the movie.

So the magic is pure- actual finished footage was printed on the fabric, and then the fabric was reshoot.

As a result, the whole film has that interesting tactile textured feeling.

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During my research around styles for my graduation film, I’ve discovered works of Jeff Scher.
He is an American painter and experimental film-maker from the US. In his work, he uses traditional tools like watercolours, markers, crayons paired with collages. So it’s basically drawings sequences animated with stop-motion technique.
For instance, his animation “White Out” contained 2500 drawings.

Additionally, I’ve found a short interview for BBC and New York Times blog where Scher explains his work approach, processes and influences from emotions and experiences from life around him.

Most of his movies appeal to me because they are emotionally close, colourful and depicted memories, precisely what I’m looking for my film.

Furthermore, his films remind me about animation that I saw during the Cardiff Animation Festival in 2018. It’s called “That Yorkshire Sound” (2017) by Marcus Armitage. He is from the UK and graduated from the Royal College of Arts in 2014.

I think their works quite similar in style vice. And also, observation of everyday life’s events determine their animations.