After missing out on it for several years, I managed to visit the Annecy International Animation Festival once again at last. In those two and a half days I saw a lot of films and it dawned on me that I must come back for the whole week again next year. It is, after all, a celebration of the cinema going experience and seeing a film in the packed Bonlieu rightfully gives one the impression that this is indeed "the greatest audience in the world", as some of the world-renowned guests liked to put it.
Of course, an animation festival is also a great place to see how artists work with color to tell a story and create mood. That is why I would like to share a list of films that stayed in my mind because of their colors, some of them conventional, some of them innovative. So here it is, in no particular order:
Shorts:LA SOUPE AU CAILLOU: Cut-out animation made of vibrant layers of translucent watercolors. Striking use of basic colors red, yellow and blue. Simple but sweet children's story.
CRABE PHARE: Cruise ship passengers build a candy colored city on top of a blue crab. Diamond shaped clouds and a color scheme that looks limited but actually spreads across red, yellow, green and blue.
PETE'S STORY: High contrast duotone style with additional spot colors. Strong and beautiful anidoc.
A COAT MADE DARK: The combination of gray and orange-red is very powerful, even as subdued as in this film. Unfortunately, I could not really connect to the story but maybe a second viewing will enlighten me.
RUBEN LEAVES: A film I wanted to mention for a long time since I have seen it at least four times now. Strictly limited to three (or five, if you count the two shades of blue and yellow as two colors each) colors without variation of saturation and darkness. Outlines are also limited to the most basic needs.
LAST JUDGMENT: Not sure why the story turned out how it did, but liked it anyway. Blue and yellow.
Features:The great thing about independent animated features (especially French ones) is that the beautifully personal design approaches that you usually only see in "art of" books are right up there on the screen. The storytelling, however, is often another story and there are reasons why some of the films are limited to special-interest audiences.
PSICONAUTAS, THE FORGOTTEN CHILDREN: What works in a comic book divided up in panels and pages does not automatically make for a captivating story arc of a 76 minute film. Despite a strong and quirky opening, the narrative unravelled rather quickly. But the fine and varied choices of color and mood kept me interested.
LA JEUNE FILLE SANS MAINS: For me, this was one of the highlights of the festival. A highly inventive combination of realist animation and abstract design. The still images do not live up to the experience. The full beauty lies in the combination of mood and motion.
TOUT EN HAUT DU MONDE (LONG WAY NORTH): Technically not an Annecy 2016 film. But I bought the Blu-ray there and have never seen it before. There are no outlines, just razor sharp shapes of colors next to each other. Color-wise this is such an enormously thrilling film that I would love to look into it any further. Unfortunately, this is the only Blu-ray I own that prevents me from taking screenshots...
There are certainly many more films presented at Annecy worth checking out regarding colors, but these were among the ones I managed to see this year. I would like to end this post with a few (mostly experimental) shorts I remember fondly but not particularly related to color design:
- THE EMPTY (CHAMBRE VIDE): surprisingly fresh and poetic
- WALL DUST: experimental cinema is gaining momentum. This is a fast and excitingly unpredictable ride.
- MODERN LOVE - A KISS, DEFERRED: animated documentaries with sketches over white backgrounds have become an inflated staple of graduation film programs. This visual New York Times column nails it, though.
- I FELT LIKE DESTROYING SOMETHING BEAUTIFUL: I kept thinking: why do I never see such a film coming out of Switzerland? Then: oh wait, this IS actually a Swiss film!
- BALKON: If there is something like a genre of films that seem to be custom-made for the Annecy experience, BALKON is one of them. No, there is no "lapin" in it. Much easier: just give the crowd in the Bonlieu a reason to scream...