Ein Porträt des Animationsproduzenten Fabian Driehorst
FABIAN& FRED – da sind sie schon wieder! Das ist das Erlebnis, das Festivalgänger*innen in den letzten Jahren womöglich oft hatten. Mehr als Grund genug also, sich mit Fabian Driehorst zusammenzusetzen und über das Studio und seine Projekte zu sprechen – und natürlich auch über ihn selbst. Read More
Ein Interview mit Ulu Braun, der bereits zum 6. Mal bei Berlinale Shorts vertreten ist und ein Überblick über den Kurzfilm auf der Berlinale. Read More
A filmmakers Q&A – not right after the film but on the following day, and on top of that in a different venue, isn’t that a terrible idea? Won’t the auditorium be empty? The answer is a definite no: Because many people come to the Q&As that festival director Igor Prassel organises every single day of the 20th anniversary edition of Animateka (27.11.-3.12.) together with Chris Robinson – whose main job is the direction of the Ottawa International Animation Festival, yet he also serves as an advisor to the Slovenian animation institution. Read More
Columbus gazes happily from the wings of the dove that carries him over and through the world. Visualised by a papercut, a profile that seems to consist only of a nose and a single eye, he appears as an anti-version of the explorer – mischievous, down-to-earth, completely without ambitions of wanting to claim ownership. It’s an unusual protagonist Sonja Rohleder has animated here in co-direction with Veronika Samartseva for Keimzeit’s song Kolumbus, and yet, it’s prototypical of Rohleder’s animation style and production process. Read More
An image that fits to a T – what is that exactly? And what precedes it – perhaps another image, one before the inner eye, or merely just a vague thematic hunch? These are questions that arise quickly when you explore and engage yourself with Volker Schlecht, who pivots back and forth between the moving and the non-moving image. Read More
An interview with Anna Henckel-Donnersmarck, head of Berlinale Shorts, together with an overview of events related to short film at the Berlinale, the largest audience festival in the world. Read More
The avatar trembles, barely able to stay up on its legs, then it falls over, its arms flailing. “Attempting a backflip is not safe. You can break your neck, or land on your head, or land badly on your wrists. None of that is nice, so my avatar does the trick,” an emotionless voice explains. The voice is that of animation director Nikita Diakur, distorted using voice cloning software. Yet its dry humour does manage to penetrate even through the manipulative software coils. Read More
“Are you afraid you’re not actually here,” asks a resounding voice in Gudrun Krebitz’s latest work “Echodrome” as the water ripples and splashes. There it is again – the ‘you’. A hallmark of Krebitz, a word that is at times a dialogic reassurance of the self, often addressing some metaphorical counterpart, or mostly directed at the potential audience. Read More
“What’s your name, where do you come from? Thanks for being here.” During the storyboard exhibition at the Kosovan Anibar Animation Festival, the volunteers eagerly seek out human contact… Read More
Enraptured, the two-legged creature picks the blissfully smiling axolotl up from the earth and pops it in its mouth. Sheer joy. Doing so, its hands – filigree stick-puppet hands – initially reach out tentatively then greedily for the tasty stop-motion being. In Jonatan Schwenk’s ZOON, over and again we encounter so many nuances and animation techniques, all at the same time. Read More