See behind the movie magic of A Boy Called Christmas with exclusive on-set footage of Michiel Huisman, Henry Lawfull, Sally Hawkins, and Zoe Margaret Colletti. Watch A Boy Called Christmas, now streaming only on Netflix.
„The National Film and Television School has a reputation for creating some of the best stop-motion shorts around – BAFTA-winners Edmond, A Love Story and Poles Apart are a testament to this. Attending the school’s grad show every year, you’re guaranteed to discover at least one standout stop-motion, in 2019 that film was Isabel Garrett’s Listen to me Sing.
Set in an isolated, rundown hotel, the story follows entertainer Sophie (in a similar state) as she struggles to find her place in a confusing world. That is until a walrus mysteriously appears in her bathtub one night and she forms an unexpected bond with it. As the hotel’s guests instantly become obsessed with the tusked creature, our downtrodden protagonist realises she is its only hope of being rescued – cue one of the most memorable final scene I’ve seen in some time. As that brief description probably points out, Listen to me Sing is based around a surreal storyline and as expected the inspiration for this came from an equally surprising place – humanity’s separation from the natural world and Garrett’s time working in a service station: “We’re living in a time where we exist very separately from the natural world, and I think this affects us a lot more than we realise”, the director explains. “I wanted to make a film about a sort of abstract symbiosis between a woman and animal, where the two sides; civilised and primal, are represented in physical form, eventually merging together”. As if the premise isn’t strange enough, the film’s setting works to amplify the dreamlike nature of Listen to me Sing with the hotel’s unusual location and decor inspiring more questions regarding exactly what is going on here. As previously mentioned, the hotel is based on a service station where Garrett used to work and she cites their “transient and lonely” feel as inspiration, describing them as “a strange meeting ground where anything goes”. We’re always looking for novel approaches to storytelling here on Short of the Week and Listen to me Sing certainly ticks those boxes. The impact of the storyline will very much depend on your personal tastes and I could understand if some found it too abstract. However, the one element of production that doesn’t feel like it’s up for debate is the short’s impressive craft. Aiming to create a “soft, tactile feeling to the world”, the character and set design mean however odd this universe truly is, you totally buy into it for the 11-minute duration of the film. The attention to detail in both is incredible, from the spots/freckles on Sophie’s face to the name tags of the employees, it feels like creating the world of Listen to me Sing was a real labour of love and it’s certainly important when it comes to the impact and enjoyment the short delivers. Despite the surreal approach to its storytelling Garrett’s film works because of the emotional attachment you form to both Sophie and the Walrus. Even if you don’t quite understand what’s going on (Sophie’s stage act is surely one the weirdest ever committed to screen), you understand their struggles and you support their efforts to break free of the chains (figurative and literal) holding them back. As their orchestral roars blend together at the end, there might even be something primal within you that wants to roar along with them – or was that just me?“ – S/W Curator Rob Munday
Isabel Garrett – Director
Emily Everdee – Producer
Rosamund Attwood – Writer
Isabel Garrett & Lydia Rynne- Co-writers
Daniel Morgan – Cinematographer
Tessa Flanagan – Production Designer
Chloe Hardwick – Editor
Stephanie Taylor – Composer
Adam Shuttleworth – Sound Designer
Joseph Bicknell – Colourist
Cecile Ceppi – Lead Compositor
Roxana Loncea- Lead VFX
Ysabel King- Compositor
Nicola Borsari – Compositor
Megan Randle – Production Manager
Alana O’Neill- Production Coordinator
Holly Mann- Production Assistant
Rich Farris – Assistant Animator
Daisy May Collingridge- Puppet Design
Alex Glenfield- Vocal Performances
Martin Nice- Art Director
Milly White- Standby Art Director
First AD- Stephanie Bradshaw
Production Assistants- Imogen Arthur Oliver Arnell Argles
Behind-the-Scenes- Carl Ward-Reid
Puppets: Daisy May, Collingridge Isabel, Garrett Oliver, Arnell Argles, Alastair Fleming, Lisa Ott
Reproduced on this channel with the permission of the filmmakers.
Jeremy Irons (The Lion King), Alicia Vikander (Ex Machina), and Jim Broadbent (Moulin Rouge) bring to life this funny family adventure that’s a visual tour de force. Trapped in a village ruled by the meddling Kondor (Irons), Huppu the bird (Vikander) dreams of having the freedom to hatch her own egg. Suddenly, she, Kondor, and their friends are blasted to a distant land, and they must trust in a wise, eccentric bat to guide them on a strange, dazzling odyssey back to the tree they call home.
München, 29.11.2021 – Heute hat Disney+ Charakter Poster von Boba Fett und Fennec Shand, sowie einen spannenden TV Spot zur neuen Live-Action-Serie von Lucasfilm „Das Buch von Boba Fett“ veröffentlicht. Disney+ hat ebenfalls bekanntgegeben, dass die Serie sieben Episoden umfasst, die ab dem 29. Dezember wöchentlich exklusiv auf dem Streaming Service erscheinen sind.
„Das Buch von Boba Fett”, ein spannendes Star Wars Abenteuer, überraschend in der Abspannszene der 2. Staffel von „The Mandalorian“ angekündigt, führt den legendären Kopfgeldjäger Boba Fett und die Söldnerin Fennec Shand in die Unterwelt der Galaxis, als sie in die Wüste von Tatooine zurückzukehren, um Anspruch auf das Gebiet zu erheben, das einst von Jabba dem Hutten und seinem Verbrechersyndikat regiert wurde.
Die Hauptrollen in „Das Buch von Boba Fett” übernehmen Temuera Morrison und Ming-Na Wen. Ausführende Produzenten sind Jon Favreau, Dave Filoni, Robert Rodriguez, Kathleen Kennedy und Colin Wilson. Ausführende Co-Produzenten sind Karen Gilchrist und Carrie Beck. John Bartnicki ist als Produzent und John Hampian als Co-Produzent tätig.
„I spent most of lockdown with Gillian Anderson in my headphones, pretending to be an evil cat“… Find out more about how Aardman created such a puuurfectly sinister villain…. Robin Robin, an animated musical special starring Gillian Anderson, Richard E. Grant, Bronte Carmichael and Adeel Akhtar.
Interested in studying at Animationsinstitut?! Apply until February 15. Take a look behind the scenes: Animation student Michael Bohnenstingl takes you on a tour around Animationsinstitut. You will see our students’ workspaces, the grading suite and get insights into the postproduction department. On the way, we will meet students and staff and learn some details about the daily life at Animationsinstitut.
AU CINEMA LE 8 DECEMBRE Où est Anne Frank !, un film de Ari Folman avec les voix de Ludivine Sagnier et Sara Giraudeau ———————— Synopsis : Kitty, l’amie imaginaire d’Anne Frank à qui était dédié le célèbre journal, a mystérieusement pris vie de nos jours dans la maison où s’était réfugiée Anne avec sa famille, à Amsterdam, devenue depuis un lieu emblématique recevant des visiteurs du monde entier. Munie du précieux manuscrit, qui rappelle ce qu’Anne a vécu il y a plus de 75 ans, Kitty se lance à sa recherche en compagnie de son nouvel ami Peter, qui vient en aide aux réfugiés clandestins ; elle découvre alors sidérée qu’Anne est à la fois partout et nulle part. Et dans cette Europe différente, désormais aux prises avec de nouveaux enjeux majeurs, Kitty trouvera le moyen de redonner au message d’Anne Frank sens, vie et espoir…
Mark Kermode reviews Encanto. With a family all imbued with magical powers, Mirabel has to come to terms with being the only one without a „gift“. Please tell us what you think of the film — or Mark’s review of the film. We love to include your views on the show every Friday. If you like this video, why not subscribe to our podcast for more reviews, interviews and general wittering of the highest order: BBC Sounds: https://www.bbc.co.uk/sounds/brand/b0…
A colorful and sensorial experience which follows two friends escape from the confines of an oppressive structured society in pursuit of a more meaningful existence.
Une expérience colorée et sensorielle de deux amis s’échappant d’une société rigide et oppressante, à la recherche d’une existence plus signifiante.
Directors / Réalisateurs : Basile GODARD, Samuel HOROWITZ, Zihao « Dudo » GUO 郭子豪, Nilayan DEY SARKAR
Team contact / Contact de l’équipe : email@example.com
Soundtrack / Musique : Samuel MAROT-SAFERIS
Sound editor / Montage sonore : Mathieu TIGER
Mix / Mixage : Mathieu TIGER
Production : GOBELINS, l’école de l’image – Cécile BLONDEL : firstname.lastname@example.org
Distribution : Miyu Distribution – Luce GROSJEAN : email@example.com
„Empathy can feel in short supply in today’s world, but the ability to place yourself in someone else’s shoes is an important skill when it comes to understanding others. If it isn’t something you possess in your toolkit, you might need a little help and film (and storytelling in general) is a great aid in eliciting such reactions. Les Chaussures de Louis (Louis’ Shoes) is a short looking to do just that, as it tells its story through the eyes of a young autistic boy in the hope of raising awareness and resonating with viewers. Created at Ecole MoPA, by Jean-Géraud Blanc, Théo Jamin, Ka Yu Leung and Marion Philippe, the five-minute animation focuses on eight-and-a-half-year-old Louis on his first day at a new school. Asked to introduce himself to his new classmates, this is an important moment for the titular protagonist of Louis’ Shoes, as he wants them to understand his unique perspective of the world. Confused by the ritual of waving to say hello and with an aversion to eye contact, will his fellow pupils accept Louis for who he is? Or will they shun him and his blue, size 33 shoes?
Initially inspired by autistic philosophers, the quartet behind Louis’ Shoes recognised that for their film to be successful and genuine, pre-production was going to play an essential role and so they set out on what they describe as “a journey of interviews and research”. Basing their character and his experiences around the testimonials of people with autism, the team were able to create a sense of authenticity throughout their short and this, in turn, helps with the feeling of warmth and understanding that radiates from their story. “Throughout the film, we thrive to create Louis’ particular way of seeing the world, which is at the same time a way of seeing ourselves, by walking, together, in his shoes”, the four co-directors explain. “The theme is specific but the struggle is universal. When the audience sees how Louis overcomes his difficulties with courage and sincerity, hopefully, it can resonate with people … even those without autism, to have the courage to accept and understand”.
Recognising CG animation as “the best tool” to do justice to the inspiring stories of their interviewees, Louis’ Shoes pairs its moving storyline with an affable aesthetic that welcomes its audience into Louis’ world. With the majority of the supporting characters framed so we never see their faces (until the very last scene), the team do a good job of inserting viewers in the gaze-avoiding point-of-view of their young protagonist. For some, this approach could have been limiting, but if anything it has forced this young team of animators to really push out their creativity and think of new ways of framing scenes. With so many shots from floor level or from Louis’ PoV, things could have got tiresome very quickly, but at just over five minutes in length, it never feels gimmicky or overstays its welcome. Selected at festivals worldwide, Louis’ Shoes picked up the Gold medal in International Animation at the 2021 Student Academy Awards. Released online for a short period, as it’s hoping to be shortlisted for the Best Animated Short Film award at the 2022 Oscars, you should watch this charming little short while you can.“ – S/W Curator Rob Munday