It’s time to dive back into the fun of Cardiff Animation Festival and talk about the next bunch of films from Shorts 1 and Shorts 8. I had the opportunity to meet and speak to many of the filmmakers and enjoyed learning about their creative processes and what influenced their decision-making when making the films.
Attending CAF is always exciting because there’s always something going on. From screenings to workshops to exhibitions, there is something for everyone to enjoy and learn from.
Model of Nessie, star of Loch Ness 1303 – Joshua Chawner
Here’s a roundup of Cardiff Animation Festival Part II:
Shorts 1: Play
These films find the extraordinary in everyday life, showcasing the strength of imagination in storytelling. Some provide classic tales with a twist, while others find joy in the simple things.
Wuthering Hearts by Laura Jayne Hodkin was a hilarious retelling of Wuthering Heights through an emo lens and nostalgic references, particularly the aesthetic and work of My Chemical Romance.
The first film shown in this selection, Huayi Yu’s Family Dinner, is about imagination and finding fun in observations. Yu plays with shapes and proportions which goes along brilliantly with the young boy’s observations. For example, we watch him recount his achievement riding his bike up a huge hill which turns out was just a little bump. Playing with perspectives this way means you never know what to expect, even when faced with the seemingly mundane tasks.
Loch Ness 1303 by Joshua Chawner is an epic of Lego proportions. This stop-motion is a masterclass in utilising Lego animation in a way that plays on scale. We are immediately immersed in the eponymous year as Chawner’s mythical retelling blends classic Hollywood tropes (insert Wilhelm scream here) and contemporary humour.
Family Dinner – Huayi Yu
Small Pics highlights:
Family Dinner directed by Huayi Yu (USA)
Loch Ness 1303 directed by Joshua Chawner (UK)
Shorts 8: Welsh Works
As the name of this selection suggests, these films are a celebration of Welsh identity and culture. Some films did this by incorporating Cymraeg (Welsh language) fully or partially into their pieces, while others took inspiration from folklore, culture, and current issues.
Paper Trees by Paddy Merrigan draws inspiration from the Welsh tradition of storytelling. Creating his own new folktale, Paper Trees is a fable about taking from the land to make art and the consequences for doing so. Merrigan’s choice to tell this story through silhouette animation brings a timeless quality reminiscent of Lotte Reiniger, while the environmental issues discussed cement the film in the present day.
The standouts for me where Tommy Howlett’s All Hail the Duck King, a chaotic glimpse into searching for artistic greatness and finding joy in what you create as you establish your artistic identity. Crayon style colour palette and abstract line-work combines with non-stop music and movement resulting in a film that has fun with the medium.
Another highlight was Eleri Edwards’ Crybaby, a symbolic tale about a young woman diagnosed with autism as an adult. She reflects on her life as a child and teen and struggles that come with not understanding why certain events happen. The use of space and shadow is beautifully done to encapsulate the overwhelming emotions the protagonist is faced with as she grapples with her diagnosis.
All Hail the Duck King – Tommy Howlett
Small Pics highlights:
All Hail the Duck King directed by Tommy Howlett (Wales)
Crybaby directed by Eleri Edwards (Wales)
What I have noticed about films across all categories is that a good chunk of them delve into what it means to be an artist and finding your identity through your craft.
Others explore the struggles of being a working artist in an increasingly detached and problematic world, using animation as a means to provide hope and optimism.
Cardiff Animation Festival has been an amazing platform for aspiring and professional filmmakers alike and it’s been great having the opportunity to watch all these films.
It’s been a while since I have attended a film festival and the lovely folks at Cardiff Animation Festival let me stretch the old critic legs and enjoy a weekend full of brilliant and quirky films made by students and professionals alike.
As ever, CAF was excellent from beginning to end. I saw a lot of familiar faces and met lots of talented filmmakers. It was truly a privilege to watch the result of months of hard work and passion, so it’s only fair I celebrate the work by spreading it out across several posts rather than a single long posts.
Here is Part I of my Cardiff Animation Festival coverage:
Shorts 5: Home
There we 13 films in this category with each bringing their own visual style and perspective on the theme. Interpretations of home ranged from a personal residence to a whole community or country, exploring themes including homesickness, hoarding, and how our home shapes our identity.
We were treated to beautifully abstract works in Homesickness which boasts vivid oil pastels to full narrative stories such as the wonderful stop-motion piece, Two Black Boys in Paradise, is a visual poem exploring two young men’s journey to self-acceptance.
For me, the standouts were Sophia Uy’s PASALUBONG! and Qianhui Yu’s Statue in the Garden. PASALUBONG! explores the friendship of two Filipino children in an airport mall before one of them moves to the USA. In Statue in the Garden, a young woman finds a statue of a dog in the garden of her new home and discovers its history.
PASALUBONG! – Sophia Uy
Small Pics highlights:
PASALUBONG! directed by Sophia Uy
Statue in the Garden directed by Qianhui Yu
Shorts 6: Shuffle
Shuffle had 10 films which were all about bringing the unexpected and experimenting with the medium. Thematically, these films are abstract.
There are films that explore the nuances of everyday life to those that deal with external crises. Ostrich and How to Build a Sand Castle are fast-paced vibrant pieces that explore identity and finding one’s voice in a very personal way, while De Imperio is an intense glimpse into imperialism and the struggles to fight against it.
My highlights in this selection were Shadab Shayegan’s Pear Garden in which a six-year-old girl visits her grandma following the latter’s mastectomy. Not fully understanding the situation, the little girl chases grandma’s shadow at night to try and get her breasts back. One of my favourite shorts of the entire festival, the animation was stunning and had a childlike quality and perspective. Shayegan’s use of mismatched colours and shapes that seem out of place convey the confusion and plight faced by the child.
Ovary-Acting is a comical stop-motion film following a young woman who is frustrated with people pressuring her to have baby. When she unexpectedly gives birth to her reproductive organs in the bathroom, the two talk through societal expectations through a brilliant musical number.
Pear Garden – Shadab Shayegan
Small Pics highlights:
Pear Garden directed by Shadab Shayegan
Ovary-Acting directed by Ida Melum
Different Voices Short Films
Different Voices is an ongoing program developed by Biggerhouse Film that provides neurodiverse filmmakers the opportunity to create and present their work. Before the screening, we got to hear from some of these wonderful filmmakers and the selection was incredibly strong.
Fawn by Molly Mayhew follows the eponymous character returning to her childhood home and dealing with the trauma she experienced growing up at the hands of her parents. We see adult Fawn encounter her child self and come to terms with what has happened, literally and figuratively confronting the trauma and comforting her inner child.
Marco Luke Drago’s The Man, the Moth, the Legend is a mockumentary following American folklore legend, Mothman, and his life in Point Pleasant, West Virginia. In two minutes, we see watch Mothman recount his life as an outcast and the unexpected celebrity he became later.
Fawn – Molly Mayhew
Small Pics highlights:
Fawn directed by Molly Mayhew
The Man, the Moth, the Legend directed by Marco Luke Drago
The subsequent parts will follow in the coming days, so stayed tuned. I’m going to be stretching and celebrating this as long as possible because the festival is such a major platform for many of these artists and filmmakers and I had such a blast.
And remember: support independent filmmakers and artists!
One of the most exciting inclusions in the upcoming awards discussion is Anatomy of a Fall. Winner of the Palme d’Or at the 2023 Cannes Film Festival, the film follows novelist Sandra Voyter (Sandra Hüller) who is accused of murdering her husband, Samuel (Samuel Theis). Making use of the French Alps setting, Anatomy of a Fall is a film that perfectly balances open space with a claustrophobic feel.
Directed by Justine Triet who co-wrote the screenplay Arthur Harari, Anatomy of a Fall is captivating from beginning to end. Triet’s direction has a timeless quality, drawing inspiration from classic crime dramas with the use of close-ups. The surface plot regarding Samuel and his death serves as a door into Sandra’s character and her life. Triet’s triumph at Cannes is well-deserved, becoming the third woman to take home the Palme d’Or.
Sandra Hüller provides one of the best performances of the year as Sandra. The role was written with her in mind and this is made clear beyond the name. Hüller slips into the character of Sandra seamlessly, encapsulating every essence of her being. There is a wonderful subtle quality to the performance that leaves the audience unsure as to what she is thinking. It also cannot go unnoticed that Hüller also excels in another 2023 film in Jonathan Glazer’s The Zone of Interest. Both films received top prizes at Cannes (The Zone of Interest received the Grand Prix which is often regarded as second place) and this is thanks in large part to Hüller’s ability to really connect with her characters and provide layers and layers to her performances. The argument scene between Sandra and Samuel in particular is an acting masterclass and should earn Hüller nominations across the board with potential wins.
Swann Arlaud is fantastic as Sandra’s lawyer, Vincent. Anatomy of a Fall is undoubtedly Hüller’s film but the character of Vincent is essential as we learn so much about Sandra’s background through their conversations. Arlaud’s performance feels natural and serves as the audience’s way into understanding the mechanics of both the main plot and also learning more about Sandra and her struggles.
One of the standout performances in the film is Milo Machado Graner as Sandra and Samuel’s son, Daniel. Although his role is relatively small, he does a brilliant job, especially for a child actor. Like Sandra, Daniel keep his cards close to his chest. We see him vent his emotions through piano practice and sense his frustration and upset at the situation. It’s great to see Graner receive recognition for his wonderful performance.
The cinematography by Simon Beaufils is stunning in every setting. From the open landscapes to the chalet interior, Beauflis’ work captures seemingly idyllic and scenic images in a way that subverts these qualities and feels claustrophobic and uncomfortable. The use of natural light allows the vulnerability of the characters to shine through while the openness of the mountain range contrasted with the smallness of the chalet captures the overall mood of the film.
Overall, Anatomy of a Fall is a film that commands your attention. The writing is impeccable and Hüller leaves you hanging on every word. If only France had submitted this film for the Academy Awards it would have been the frontrunner. However, it would be a surprise not to see Anatomy of a Fall included in some major categories on nomination day, especially for Sandra Hüller’a magnificent performance.
What did you think of Anatomy of a Fall? Let me know in the comments below!
One of the big surprises to come out of Sundance: London Festival this year was Brian and Charles which won the Audience Award. The film follows Brian Gittins (David Earl), a middle-aged inventor who lives by himself in a rural Welsh village. When he comes across a mannequin head in a pile of rubbish, he is immediately inspired and creates a robot that has a washing machine for a body. One stormy night, the robot comes alive and is given the name Charles Petrescu (Chris Hayward) and the film chronicles their adventures with all their ups and downs, especially as Brian grows close to Hazel (Louise Brealey), a woman who lives in the village with her mum.
The film is directed by Jim Archer from a script written by the film’s stars, David Earl and Chris Hayward. What works so well is how coherent and well-matched the directing style is with the writing. The backdrop of rural Wales works beautifully with the whimsy and magic of the script, while also maintaining a minimalism that truly allows the characters to shine. Brian and Charles is a film that wears its heart on its sleeve and puts its characters right in the centre of the plot, meaning that there is no need for bells and whistles and elaborate set pieces. The stripped-back nature of the filmmaking style goes hand-in-hand with the simplicity of the plot. The film is a mockumentary which is highly evident in the film’s opening scenes as Brian is lonely and only has the crew to talk to, but as the film progresses and he finds friendship in Charles and a blossoming relationship with Hazel, he engages with the crew less and less, becoming less concerned with how he is perceived on camera.
David Earl stars as Brian, the lovable and lonely inventor who finds that making a robot gives him a new found confidence and a fresh perspective on life. Earl’s performance is sweet as we see Brian grow in confidence throughout the film as he learns to stand up to a family that thrives on bullying the locals, including Brian himself. The scene in which Charles has been kidnapped and Brian doesn’t have the confidence to take him back when he has the chance is heartbreaking as we really feel the character’s predicament and pain in the situation.
Playing Charles is Chris Hayward who dons a box and mannequin head with style. What makes Hayward’s performance so effective is that he successfully manages to get the audience to care for Charles from the offset. Charles is eager to explore the world and feels trapped by Brian who forbids him from venturing outside without permission. It seems impossible that a robot would be able to feel emotion or have dreams, but Charles does and we see his attitude change as he begins to rebel against Brian.
In support, Louise Brealey plays Hazel, a shy and nervous woman who lives in the village with her mum and parrot. Just like Brian, Hazel is also incredibly awkward and afraid to go after what she wants. When Charles is introduced on the scene, he helps Brian and Hazel to push through their awkwardness and explore the potential for a relationship. Hazel proves to be a strong ally for Brian and Charles, doing everything she can to save the latter when he is kidnapped. Brealey is a great onscreen partner with Earl as they are able to bounce of the awkward humour successfully.
The score was composed by Daniel Pemberton, who continues to showcase his ability to adapt to all sorts of genres. His score feeds into the whimsy in the story with the opening track, “Wales, Land of Wonder” setting up the film’s laid-back and minimalism. However, this is also contrasted with robotic sounds such as the track “Crossed Wires” which exaggerates the growing tension between Brian and Charles as the latter is desperate to leave and go on his own adventure while Brian refuses to let this happen. What makes Pemberton one of the best British film composers working today is his ability to bring forth the characters’ emotions in his tracks and allowing the music to compliment those feelings and bring those feelings to the surface.
Brian and Charles has proven to be one of the best feel-good films of the year. It’s a film grounded in minimalism that doesn’t need all the bells and whistles to convey its message. Just like the gorgeous natural Welsh landscape that surrounds the village, Brian and Charles is an emotional and funny yet sincere tale about friendship and coping with loneliness. While it is a film that is simple in its storyline and execution, the way it explores themes of loneliness, relationships and belonging is incredibly rich and will leave you with a smile on your face long after the credits roll.
What did you think of Brian and Charles? Let me know in the comments below!
Brian and Charles is available to watch in cinemas now!
One of the best films to come out of this year’s awards season is Pedro Almodóvar’s latest feature, Parallel Mothers which sees him reunite with Penélope Cruz for the seventh time. The film follows photographer, Janis (Cruz) and her parallel experiences of motherhood with teenage mother, Ana (Milena Smit). What follows is a series of event that are unpredictable as the main characters lives start out the same, but veer off into different directions. Receiving two Oscar nominations for Cruz’s lead performance and Alberto Iglesias’ magnetic score, Parallel Mothers is a film that sees Almodóvar at his best. The film opened the Venice Film Festival where Cruz was awarded the Volpi Cup for Best Actress.
The film is written and directed by Pedro Almodóvar, who showcases yet again how fearless he is as a filmmaker. What Almodóvar does so well is his ability to merge various genres, while also bringing in various layers that make his films so rewarding to watch. In Parallel Mothers, there is an ongoing plot as Janis campaigns for a local mass grave to be excavated as it contains the remains of her great-grandfather and other men who are unlawfully killed during the Spanish Civil War. This fight for freedom and local identity parallels her own struggles to find herself and her place in the world, while also serving as a plot point that drives the film forward.
Undoubtedly the beating heart in the film, Penélope Cruz provides one of 2021’s best performances as Janis. Janis is a successful photographer who lives in a beautiful apartment in the heart of Madrid. When she unexpectedly falls pregnant, her life begins to change and after encountering a teenage mother, Ana, in the hospital, she begins to see that they share more in common than she originally thought. Cruz is absolutely excellent in the film and deservedly won the Volpi Cup for Best Actress at Venice Film Festival for her troubles, as well as receiving an Oscar nomination for Best Leading Actress. Cruz and Almodóvar have proven yet again how well they work together as Cruz is able to bring forth Janis’ complexities and strength.
The role of Ana is equally important as Janis because she serves as Janis’ parallel and counterpart throughout the film. Playing Ana is Milena Smit, a relative newcomer, who does a fantastic job in the role of complex Ana, a teenage mother who struggles in her new role as caregiver. Smit works brilliantly with Cruz as the two share a natural chemistry that makes the characters’ relationship authentic and believable from beginning to end. Throughout the film, we learn more about Ana and the more tragic it becomes in terms of her background. Smit’s performance therefore becomes more rewarding as we can see that sadness and struggle that Ana has been faced with and begin to understand why she makes the decisions that she does.
When it comes to the cinematography, Almodóvar relies on his regular collaborator José Luis Alcaine. What Alcaine does so well is allowing the audience to see the world from the character’s eyes. Janis’ perspective serves as a microcosm for the experiences of motherhood, while also remaining beautiful to look at. One poignant location used throughout the film is Janis’ kitchen. The kitchen is often referred to as the “heart of the home”, and in this instance, it is the “heart of the film” as Janis has many meaningful encounters there. Alcaine makes use of the space by shooting the kitchen from various angles to make it feel claustrophobic in scenes of tension and confrontation, while using wider shots to make it feel more spacious and free when used in scenes of joy and bonding.
One of the best elements of the film is the score composed by Alberto Iglesias. Iglesias was nominated for an Oscar for his work, and it’s easy to see why. Some tracks such as “El visillo volante” feel reminiscent of classic thrillers as the fast strings feel like a quickened heartbeat. What makes the score so effective is that Iglesias knows when to keep the music quiet and subtle in the background and when to allow the music to be loud and drawn out.
What makes Almodóvar one of the best filmmakers working today is his ability to craft beautiful characters, while also bringing in a wider view of the world. In Parallel Mothers, we follow Janis and her struggle to find her own identity, while simultaneously trying to fight for a local mass grave to be dug up that is believed to contain her great-grandfather and others who were killed during the Spanish Civil War. Almodóvar always makes films that are thoughtful and gripping and Parallel Mothers is no exception. It’s a film that doesn’t need all the bells and whistles as Almodóvar allows his actors to bring forth the tension in the script with Cruz providing her best performance in years, and one that I believe she should have won the Oscar for.
What did you think of Parallel Mothers? Let me know in the comments below!
I was fortunate enough to cover this year’s Cardiff Animation Festival and was able to watch an array of films (over 100 in fact!). One of the highlights was loundraw’s debut, Summer Ghost which has a non-traditional running time of 40 minutes meaning that it can be considered either a long short film or a short feature film depending on your point of view. The film follows three struggling teenagers Tomoya (Chiaki Kobayashi), Aoi (Miyuri Shimabukuro), and Ryō (Nobunaga Shimazaki) and their investigation into a local urban legend called the Summer Ghost, a young girl who was rumoured to have killed herself who can be summoned when lighting a firework at an abandoned airfield. When they come face to face with Ayane (Rina Kawaei), the Summer Ghost, the group tries to figure out the truth about Ayane’s death, so she can find peace and move on.
The film marks loundraw’s directorial debut and is based on a script by author Hirotaka Adachi who incorporates many elements seen throughout his bibliography. The first thing that you notice about Summer Ghost is how strong the style of the film is. It’s clear from the beginning that loundraw has a distinct style, while the writing isn’t afraid to venture into mature topics such as mental health, specifically struggles with depression and suicide. Due to the film’s 40-minute running time, there are some characters who are given more characterisation over others as loundraw has more interest in Tomoya and Ayane. This isn’t to say that we aren’t given insight into Aoi and Ryō’s characters at all as we learn about their individual struggles, but there is more emphasis placed on the friendship between the protagonists and their times spent together. The plot of Summer Ghost is fairly straightforward and linear, but isn’t afraid to blur the lines between reality and the supernatural, allowing the audience to escape within the magic of the film’s world.
The film consists of four major characters so finding the right actors to voice them was crucial, especially since Summer Ghost delves into darker themes. In particular, the voice acting provided by Chiaki Kobayashi as protagonist, Tomoya and Rina Kawaei as the titular ghost, Ayane are extremely strong with the latter proving herself to be the perfect choice for Ayane. They manage to bring life to their characters and perfectly put across the complex emotions that these characters feel through the duration of the film. The scenes in which Tomoya and Ayane spend time together without the others feels extremely intimate and secret with Kobayashi and Kawaei conveying great chemistry for the characters, so the audience believes that they have an organic and natural friendship, despite the short amount of time that we see them spending together.
The soundtrack composed by Akira Kosemura, Itoko Toma, Guiano, and Hideya Kojima perfectly conveys the fantastical elements of the plot as it incorporates whimsy, especially in the scenes when we are first introduced to Ayane and when Tomoya first flies. The composers treat Summer Ghost as though it were a feature with his score as he allows the tracks to become loud and powerful, bringing forth the characters’ feelings during the unspoken moments. There is a contrast between the tracks that accompany scenes that take place in the “real world” and those that accompany supernatural scenes as the former seem to feel more standard and repetitive as though to exaggerate the repetitive nature of everyday routines, while the supernatural tracks are more unpredictable and whimsical in their sound. Despite having four different composers working on the film, the soundtrack works well when put together as it shows the complexities and differences between the characters and their individual perspectives.
Summer Ghost may have a non-traditional running time of 40 minutes that teeters between short film and feature film length. However, this doesn’t take away from Adachi’s beautiful script and the vivid visuals as loundraw makes use of every single second. Whether loundraw decides to revisit the world of Summer Ghost for a feature-length project in the future or decides to leave the project as is, it’s clear that he has a firm place in the future of anime and is a voice and visionary to watch out for as his studio, Flat Studio begins to develop even more projects.
You can read my write-up on Cardiff Animation Festival here.
One of the most anticipated films to come out of last year’s Cannes Film Festival was Sean Baker’s latest feature, Red Rocket. The film follows Mikey Davies (Simon Rex), who has returned to his hometown of Texas City after his career in the porn industry has come to a standstill. When he meets 17-year-old Strawberry (Suzanna Son), at a local donut shop where she works, Mikey is determined to groom her into becoming the next big name in porn. Red Rocket received a standing ovation at Cannes and became a critical and commercial success as expected from Baker’s films, while establishing Baker as a true visionary who seeks to place the spotlight on outcasts and their stories, especially those who work in the sex industry. From the opening credits that show off the industrial background while NSYNC’s track “Bye Bye Bye” plays to the closing shot of Strawberry in the bikini in her doorway, Red Rocket is another brilliant entry in Baker’s filmography.
The film is directed by Sean Baker who cowrote the screenplay with writing partner, Chris Bergoch. As expected from Sean Baker’s films, Red Rocket sheds life on another perspective within the sex industry as Mikey is a former porn star who tries to settle down into “normal” life and struggles when potential employers learn of his previous profession. Like his other projects, Baker’s focus is on a select few characters and explores Mikey and Strawberry as the former has been involved in the porn industry for years before while the latter is toying with the idea of entering the industry. The film is far grittier and has even darker undertones than Tangerine and The Florida Project thanks to the controversial age gap that had many critics and moviegoers talking about as Mikey is in his 40s while Strawberry is only 17 and still in high school. However, Baker and Bergoch do not glorify Mikey or his actions, which is clear from the get-go as he turns up at his ex-wife’s house broke and bruised.
Simon Rex leads the cast as former porn star, Mikey Davies who has returned home to Texas following the downfall of his career. Providing one of the most uncomfortable yet brilliant performances of the year, Rex’s turn as Mikey has many layers that can be interpreted in different ways depending on the viewer. On the surface, he seems excited and optimistic about the future, especially after his encounter with high school senior, Strawberry, and the prospect that she could be the next big thing in the porn industry. On the other hand, Mikey’s actions can be construed as manipulative and deceptive as he will do anything to get what he wants in an extremely controlling manner. Once his gaze is fixated on Strawberry, he does everything he can to control each aspect of her life beginning with the breakup of her relationship with her high school boyfriend through to convincing her that the porn industry is the right path for her. Mikey is a deeply disturbing and flawed character, but this is what makes the film captivating to watch and it’s thanks to Rex’s fearless approach to the character. It’s no surprise that Rex won an Independent Spirit Award for his troubles.
It’s always exciting when an actor seems to breakthrough out of nowhere and one of this year’s big breakouts is Suzanna Son who is magnetic as high schooler, Strawberry. Strawberry’s character is the catalyst for the events that happen in the film as her encounter with Mikey inspires the latter to pursue a career as a talent scout in the porn industry. Red Rocket has garnered controversy due to the aforementioned age gap, but on watching the film, Mikey’s position as a controlling manipulator is evident as he puts himself in the centre of Strawberry’s life to groom her into entering the porn industry. This means that she doesn’t really have a say, even if it may seem like she does. Son fills Strawberry with plenty of ambition and dreams that seem to be bigger than the small town she lives in.
The cinematography is provided by Drew Daniels who manages to find the magic in the Texan setting. The opening shot sees Mikey return to Texas City and the industrial influence is clear as the bus makes its way past a slew of power plants. Mikey’s ex-wife’s house is by contrast, a small patch of green that sits near to these power plants, while Strawberry lives in a small town nearby that is far away from the power plants and has a beautiful lake at the bottom of her back garden. Despite the limited locations that have become signature in Sean Baker’s films, Daniels manages to show the contrast between Mikey and Strawberry’s backgrounds simply from the environments where they live.
Red Rocket will definitely prove to be uncomfortable viewing for some thanks to the large age gap between the two main characters, but Baker doesn’t necessarily glorify the age gap as Mikey is clearly a flawed and charismatic individual who has a penchant for controlling and manipulating those around him. While the film may not be on the same level as Baker’s previous effort, The Florida Project, Red Rocket is another worthy addition to his filmography and proof of his ability to tell stories that are often overlooked or ignored.
What did you think of Red Rocket? Let me know in the comments below!
Cardiff Animation Festival offers an extensive showcase of some of the best animation films from around the world. I attended the physical festival at Chapter and discovers a rich eclecticism of the films on offer.
Checkpoint
Day 1
The first thing that you notice upon walking into Chapter Arts Centre is just how busy it is. 2022 marks Cardiff Animation Festival’s fifth year and its second in-person event (the first physical festival took place in 2018, and was followed by three years online).
This year, CAF was able to make good use of the physical space available while also boasting an array of virtual events which continue after the in-person offering until 24th April. The festival was spawned from a love of the animation medium – specifically short films and the licence they give for emerging filmmakers to be experimental with their storytelling and animation style. Hence, it’s no surprise that this is a festival which makes space for both local and international voices. That eclecticism is certainly felt in its many offerings, with no shortage of themes, styles, and perspectives, culminating in a festival that is culturally rich and rewarding.
Hand
There are seven showcases of short films numbered from 1 to 7, each containing a multitude of shorts within the category that share a common theme. I attended ‘Shorts 3: Sound/Vision’, which boasted the most amount of shorts with 17 films included in total.
As the title of the showcase suggests, these films are linked by their innovative use of sound and how this compliments (and sometimes contrasts) with the animation styles. Themes spanned numerous areas, with the pandemic and climate change being among the most recurring topics. The use of hands in various shorts such as WYH and Hand was particularly striking, used to explore the pandemic and gesture to the natural human instinct to communicate and connect with others.
Other shorts focused on the body as a whole, and brought brilliant commentary to discussions around mental health, especially prevalent in shorts such as Downfall and Summer Years. Others ventured into comical territories, including Acid Rain and Cockpera.
Noise Film
Merlin Voss’ poignant Noise Film was a personal highlight. Its narrative follows a protagonist going about her daily routine with the entire soundscape – from car to weather – rendered by humans. The way Noise Film utilises this sound exemplifies the power of subjectivity and how personal perspective may shape perception of outside events.
‘Shorts 2: Human/Nature’ was another bumper category with a whopping 16 films within its rota. These shorts were connected by their themes of identity and the self, contrasting the differences between mankind and nature in a period of increasing climate-based tension.
There were shorts that had a keen interest in the natural world such as Suburb and In Nature, while others had a sharp focus on the human experience such as the heartbreaking Deep Tissue and Silvering. I would be remiss not to mention the hilarious Magical Cat, a series of minute-long shorts that cropped up throughout these pieces following the comical activities of an animated cat.
Magical Cat
Emma Kelly’s Looking for Answers, in particular, offered profound reflection on human experience with a simple story of a man eager to plant and grow a seed who ultimately gets knocked off course by an obsession with research.
‘Shorts 6: Reel/Life’ featured 12 shorts with experimental themes and storylines. Most were made as a response to political issues, and their interests were global in reach; from Checkpoint which follows a young girl in modern-day Palestine to Les Larmes de la Seine (The Seine’s Tears) which explores France’s Algerian population in the 1960s and their rebellion against the curfews imposed by the police. Necessarily, these were not comfortable watches and they emphasised the didactic and activistic power of the animation medium, especially in addressing political taboo.
Freedom Swimmer
Olivia Martin-McGuire’s Freedom Swimmer was especially moving. Its narrative follows a man’s past flight from China to Hong Kong with his young daughter, its story running in parallel to the story of his granddaughter’s current fight for freedom in modern-day Hong Kong. The combination of live-action interviews (using actors to ensure all identities are anonymous) and minimalistic animation tells the story with an intricacy which is at once specific and universal.
‘Shorts 4: Home/Sick’ was the final set of shorts I attended on the first day. Each filmmaker in this showcase explores the themes of home and belonging, the meanings of these terms being both literal (I Call it Home) and conceptual (Depths of Night). Each short gives insight into the nuance of individual experience, and the complexities of what we claim as home.
Affairs of the Art
Joanna Quinn’s Academy Award-nominated Affairs of the Art is the stand-out piece of this set. It sees the return of her much-loved character, Beryl, in a mockumentary format as the protagonist delves into obsessive natures, documenting Beryl’s own fascination with art. Quinn perfectly conveys the shifting dynamics in the family home as she delves into desires and regrets – a perfect encapsulation of the universal longing for identity and meaning.
Day 2
Day 2 is marked by another bustling cinema foyer – the area wall to wall with aspiring animators with plenty of space for scribbling and storyboarding ideas. As well as more film showcases, a masterclass hosted by Joanna Quinn, director and animator of the Oscar-winning short film, Affairs of the Art, is on offer.
Isaiah
Things kick off with ‘Shorts 5: Silent/Cinema’. This collection of films contains the least amount of shorts with only nine in its repertoire, but this is only due to the longer running time of each piece.
‘Shorts 5’ is, in many ways, the most accessible of all the showcases – each piece linked by lack of sound and visual storytelling. Still, the plots are no less vivid for the restraint. Isaiah – one of the shortest of these films – tells the story of Mari Lywd and the tale of its Christianisation. Meanwhile, Megamall provides an insightful look into capitalism and its varying impact.
Pilar
Yngwie Boley’s Pilar captures my heart – its story following a character desperate to escape her post-apocalyptic village and reconnect with nature. Equally wonderful is Samantha Moore’s Treasure, the film following a man’s search for treasure using a metal detector in the modern-day and the connection to the past where we follow a young mother from the past who sacrifices her treasure for the good of the community. These films are completely different in themes and animation style, but both convey the power of the visual format to transcend the need for dialogue in conjuring intense emotion.
‘Shorts 1: Together/Apart’ consists of films connected by the themes of connection and communication – a deeply relevant topic following the years of global pandemic. These shorts display an acute focus on humanity.
Signs
Films such as Signs and Everything Is Going To Be OK explore the desire to reconnect with others after losing oneself in daily routine, while My Ex Boyfriend is a hilarious story about a woman whose life is flipped upside down when water begins to pour out of her boyfriend.
What was great about this collection of shorts was the inclusion of LGBTQA+ stories such as Sincerely and All Those Sensations in My Belly which followed the respective protagonists in their quest to find love in a world which doesn’t always accept them. Lina Kalcheva’s Other Half is a thoughtful claymation exploring a world where couples literally merge together to form one body.
Day 3
The weekend has begun and more animation is on the menu. I start off with ‘Shorts 7: After/Dark’ – with a turn to the darker side, CAF offers firm rebuttal to offhand remarks made at this year’s Oscar ceremony about animation being solely for children. Feature film Flee – which screened at this year’s CAF – was a contender for multiple Academy Awards. The 12 films within ‘Shorts 7’ explore (sometimes with graphic detail) issues of trauma and violence.
MOM
The first film, HIDE, is a beautiful and claustrophobic look into trauma as we see life through the eyes of a young boy who hides in a cupboard and sees glimpses of family life that are often kept hidden from children. MOM follows a young girl who is being hunted for entertainment as her plight is broadcast across the country and her reflection on memories with her mother allow her to come to terms with how the past has shaped her.
The Swiss film, Mr. Pete & the Iron Horse, provided a hint of fun – following a soldier and his quest to appease his leader. Paul O’Flanagan’s Memento Mori, which followed an esteemed post-mortem photographer, Mr. Huxley, and an encounter that forces him to reflect on his previous behaviours is a standout piece. Featuring Mark Gatiss as the protagonist, the film transports its audience into the Victorian era and does a brilliant job of setting the mood and tone from start to end.
Mr. Pete & the Iron Horse
Day 4
Shorts all out the way, the last day of the Cardiff Animation Festival has come around fast. Today the schedule turns East with two feature length Japanese films to watch before the concluding awards ceremony.
Japanese documentary The Kingdom of Dreams and Madness starts the day, the film following iconic Studio Ghibli founder and director, Hayao Miyazaki, as he directs his 2013 feature, The Wind Rises. It’s a beautiful and poignant look into the creative process of one of animation’s leading figures, looking into his entire career and what led him to make The Wind Rises.
The documentary not only gives a brilliant insight into one of the world’s best animation studios but also shows just how much hard work and dedication goes into making a feature-length animation. The screening was followed by a talk by the popular podcasters behind Ghibliotheque where they discussed various aspects of the studio and the filmmakers.
The Kingdom of Dreams and Madness
Next I attend the Welsh premiere of animator loundraw’s directorial debut, Summer Ghost, a 40-minute film that follows three teenagers who meet in the hopes of encountering a mysterious ghost who has been appearing to people during the summer months. A deeply resonant film that looks into the complexities of adolescence, identity, and trying to find your place in a quickly-advancing world, Summer Ghost boasts captivating visuals and a gripping story while managing to delve into each of the main characters’ lives in a way that feels natural. There was also a pre-recorded Q&A with loundraw following the film which delved into his rise in the world of animation and the various inspirations behind the film.
Awards Ceremony
The festival concluded with the awards ceremony where multiple films received the beautiful trophies that had been painted with dots by festival-goers throughout the weekend.
After each winner was announced, the audience was treated to a final viewing of the winning film which was a great bonus. A resounding success from start to finish, Cardiff Animation Festival is a powerful showcase for the emotional vitality and variety of the animation form.
You can see all the winners of the Cardiff Animation Festival 2022 in order that they were announced below:
Best Micro Short
Winner: NOMINO SUKUNE (directed by Ryotaro Miyajima)
Highly commended: Crafty Witch (directed by Laura-Beth Cowley)
Young Jury Award
Winner: Shift (directed by Cam Swartz)
Highly commended: Heartwood (directed by Reyes Fernández), Tobi and the Turbobus (directed by Verena Fels), and Tacet (directed by Zachary Simon)
Quick Draw Award
Winner: Blending In (directed by Bethany Powell)
Highly commended: Camouflage, Sniff Test, Blend, and Guinea Pigment
Best Student Award
Winner: Other Half (directed by Lina Kalcheva)
Highly commended: Sauna (directed by Anna Lena Spring and Lara Perren)
Best Short Film
Winner: Freedom Swimmer (directed by Olivia Martin-McGuire)
Highly commended: In Nature (directed by Marcel Barelli)
Audience Award
Winner: Affairs of the Art (directed by Joanna Quinn)
There are some films that have humble begins and then grow in publicity and popularity unexpectedly. This year’s dark horse is undoubtedly, comedy-drama CODA, which has had a huge awards’ presence, and even been grabbing some unexpected wins. The film follows Ruby Rossi (Emilia Jones), who is a CODA (Child of Deaf Adults), and her experiences as the only hearing person in her family. As Ruby discovers that she loves music and singing, complexities arise, especially as her family set up their own fishing business. CODA’s achievements shouldn’t be ignored as 40% of the film is American Sign Language, which is a brilliant way of raising awareness and promoting inclusion within the film industry. The cast of Ruby’s family consists of Daniel Durant (who plays Ruby’s brother, Leo), Troy Kotsur (who plays Ruby’s father, Frank), and Oscar winner Marlee Matline (who plays Ruby’s mother, Jackie).
The film is written and directed by Siân Hederand is her second feature following her 2016 debut, Tallulah. CODA is a remake of the 2014 French film, La Famille Bélier, which did exceptionally well in the French box office on release and was nominated for numerous César Awards. Heder’s script relocates the story to a fishing community in Massachusetts, but maintains the main story element that the protagonist discovers that she loves singing and wants to audition for a place at a prestigious music school. What Heder’s script does really well is bring a great level of characterisation to each member of the Rossi family as the film chronicles the familial relationships and conflicts that Ruby has with each member. The direction shows life through Ruby’s eyes and rarely diverts from this with only a handful of scenes not involving Ruby included in the film.
Emilia Jones takes on the lead role of Ruby and proves to be the perfect casting choice. Jones has been slowly adding to her resume in recent years, providing brilliant performances such as the lead character in Catherine Linstrum’s 2019 film, Nuclear. It is this film, however, that has proven to be her big breakout performance and even garnered Jones a BAFTA nomination for Best Leading Actress. Ruby is a great central character thanks to her relatability as an awkward teenager trying to fit in, but her situation as a CODA makes her the prime target for bullies in school. When she realises that she can sing and wants to embark on a music career, familial conflict ensues as she won’t be able to act as her family’s interpreter. Jones perfectly captures Ruby’s dilemmas and internal conflict as she strives to follow her own dreams.
One of the big reasons why CODA was able to secure financing was thanks to Marlee Matlin, who stars as Ruby’s mother, Jackie. Matlin made history as the youngest winner of the Best Leading Actress Oscar in the 1986 film Children of a Lesser God and her career has proven to be vast, spanning across film and TV. Jackie and Ruby’s relationship is highly turbulent throughout the film, as they don’t seem to have a lot in common. When Ruby realises that she loves to sing, Jackie can’t understand as she had planned Ruby’s role in the family business. Although the role is fairly small, Matlin makes the most of every second she is onscreen, and it’s clear that she is having a lot of fun in the role. What is great is how developed Jackie’s characterisation is as the mother-daughter relationship goes through highs and lows.
The highlight of the film is undoubtedly Troy Kotsur in the role of Ruby’s father, Frank. Every time Kotsur is onscreen, he commands attention thanks to the amount of heart and depth that he brings to the character. Frank’s financial and social turmoil are brilliantly chronicled in the film. What makes Frank such a brilliant character is the mix between humour and drama that he goes through, and his scenes are among the most memorable in the entire film. The scene in which Frank lectures Ruby and Miles (Ferdia Walsh-Peelo) on safe sex is among the funniest moment in the film. The scene following Ruby’s school performance, in which Frank asks her to sing the song from her recital while feeling her vocal cords. Through doing this, he is able to experience the emotions of the song, and it’s one of the best scenes in this Oscar race and is why he is deserving of the Best Supporting Actor Oscar.
One important aspect of CODA is its soundtrack. The score is composed by Marius de Vries who incorporates calming, whimsical instrumental tracks that invoke the small fishing community which is then contrasted by an array of song covers that are beautifully sung by Emilia Jones and fellow members of the choir. The film’s climactic moment, in which Jones sings a cover of Joni Mitchell’s “Both Sides, Now” as part of her audition for college will bring tears to your eyes as she notices her family in the audience and begins to sign the lyrics for them. The music is imperative to the plot of the film and in the end, is made inclusive for all characters and the way that this is done helps to bring the family together.
CODA has proven itself to be The Power of the Dog’s main competition and may even cause a huge shock by taking home the Best Picture Oscar next Sunday. Heder’s film is one that is filled with a lot of heart and amazing performances, especially by Kotsur, who is the favourite to bring home the Best Supporting Actor Oscar, and Matlin. Although some may find that the feel-good nature of this film is overwhelming, CODA has the performances and writing to back up a great story with a wonderful message. Although Ruby’s situation is not experienced by the majority of families, the familial conflicts and way that the relationships are portrayed feel universal and relatable.
What did you think of CODA? Let me know in the comments below!
British cinema is at its best when it is able to truly capture the plight of the working class. Clio Barnard’s newest film, Ali & Ava, premiered at Cannes Film Festivalin 2021 and has been well received by critics and audiences alike thanks to its universal story. The film is set in Bradford and follows the titular protagonists (Adeel Akhtar and Claire Rushbrook, respectively) as they meet, and their relationship develops. Both characters have received judgement and prejudice for different reasons as Ali faces racism while Ava lives in a poorer area of town. Together, the pair find that they share a lot in common such as a passion for music and this blossoms into a relationship that develops concern from the family and friends of both parties. On top of this, the film also explores emotional challenges as Ava has to overcome the trauma of her last relationship as her deceased husband was abusive. With Akhtar and Rushbrook bringing profound performances that perfectly capture the working class experience, Ali & Ava is an uplifting tale of love.
The film is written and directed by Clio Barnard, who has managed to bring forth the complexities that come with everyday life, by interweaving brilliant characters. The plot may seem pretty simple on the surface as the two protagonists meet and fall in love, facing plenty of prejudice from their friends and family, and learning how to thrive in the face of these protests. Barnard has done a flawless job of getting to the heart of her characters and really delving deep into their development and characterisation, so we are able to truly understand Ali and Ava’s decisions. The way that Barnard captures Bradford makes it feel as though it is based in its own universe and shows that there is more to people than originally perceived.
Adeel Akhtar is fantastic as local landlord, Ali as he provides a grounded performance that has so many layers. To say that he deserves his BAFTA nomination is an understatement, as it feels as though his performance – and the film overall – has been overlooked by awarding bodies outside the UK. Ali is a person who loves music and is always doing his best to please the people in his life. When he meets Ava, it is evident that this is the first time in a while when he is able to put himself first. Akhtar brings forth Ali’s passion for life as well as the complexities that come with it. It’s an intelligent performance that becomes more resonant as the film goes on. Akhtar’s chemistry with Rushbrook is undeniable and the two of them complement each other perfectly. The scene in which they are both listening to their music is extremely beautiful, as they are sharing the same experience through a different song, which is reflective of how their lives have crossed from travelling down different paths. Akhtar’s performance is nothing short of charismatic and magnetic, while also ensuring that there is sincerity in the character, even in the lighter moments.
Playing Ava is Claire Rushbrook who does a brilliant job of delving into the character’s complicated story. Ava’s path is very different from Ali’s as her struggles have come from inside the home. She is a working class mother who endured abuse from her husband for many years before his death. Not only does Ava have to put up with the racist opinions from those in her family, but she clearly struggles to let her guard down and open her heart to another man following her trauma. It’s a shame that Rushbrook isn’t receiving award recognition for her performance. While Akhtar’s fantastic performance is more extroverted, Rushbrook’s is more subtle in that her revelations and development occur later on in the film, while also showcasing the pressures that are put on her as a mother, a friend, and a teaching assistant.
The cinematography is provided by Ole Bratt Birkeland who does a brilliant job of showcasing the magic within Bradford and the many places it is home to. The characters live in the same city but come from different walks of life and this is captured in Birkeland’s cinematography as we venture into the lovely built-up areas near the centre where Ali lives that is known to have a large South Asian community, while contrasting this with the rural working class community on the city’s outskirts where Ava lives. Bradford works as a visual microcosm that has an abundance of different communities within it and Birkeland does a brilliant job of ensuring that the film doesn’t feel claustrophobic in terms of location. The way that Birkeland heavily focuses on characters during scenes of tension is fantastic as we are able to see every movement that the actors make. The scene in which Ava’s son, Callum (Shaun Thomas), confronts his mother and Ali at a local bonfire ventures into thriller territory thanks to the unpredictability and the sharp focus that Birkeland has on the characters.
Ali & Ava is a film that feels so timely and timeless at the same time. It is a film that doesn’t need bells and whistles in its production and is proof that having a wonderful visionary at the helm with stellar performances can draw out the magic and complexity from a plot that may seem simple at first. Akhtar and Rushbrook are a fantastic team and the way that they develop the characters and showcase the lows and highs of the relationship is nuanced and resonant. Barnard’s modern day Romeo and Juliet may not have the grandeur that is expected of such a love story, but Ali & Ava is a beautiful take on the human experience.
What did you think of Ali & Ava? Let me know in the comments below!
