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SCHEDULE


WELCOME

Bienvenue

The Ottawa International Animation Festival (OIAF) is back—sort of. Yes, North America’s largest animation event is serving up our usual overdose of the mesmerizing, imaginative and occasionally bewildering animation that will have you laughing, crying, maybe occasionally screaming. As always, the OIAF offers a rare chance to see it all, from big hits by major studios to innovative gems crafted by up-and-coming independent filmmakers. But yes, this year will be different. There’s no getting around that, but we think that’s okay. This is a year of experimentation; a wonderful and unique chance to try new approaches. We’ve expanded the OIAF to two weeks so you can enjoy the festival during the times that work best for you. And with a combination of on-demand options, as well as scheduled screenings and talks, no one has to do long crazy days to try to cram in every film and talk. So sit back and relax, you can catch it all this year. Instead of our usual 5 short competition screenings at 75 minutes, we’ll be doing 8 screenings at 45. Afraid the excitement of the Competitions will be gone? Fear not! We’ll be presenting them live at set times every day with the filmmakers, the jury and Joel Frenzer in attendance. If you miss them, they will be back, on-demand, Oct 3–4. Log into the OIAF Virtual Experience to meet with new and old friends, see on-demand films and talks, live presentations, parties (the infamous Night Owl) and the Animation Exposé Fair with recruiters, animation schools and other great organizations you’ll want to meet.

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Le Festival international d’animation d’Ottawa (OIAF), en quelque sorte. Oui, le plus grand événement d’animation en Amérique du Nord servira sa surdose habituelle d’animation envoûtante, imaginative, et à l’occasion, ahurissante, qui vous fera rire, pleurer, peut-être même parfois crier. Comme toujours, le OIAF offre la rare occasion de tout voir : des grands succès de studios reconnus, aux bijoux d’innovation créés par des cinéastes indépendants prometteurs. Toutefois, il est vrai que ce sera différent cette année. On ne peut y échapper, mais on pense que c’est correct. Il s’agit d’une année d’expérimentation; la chance merveilleuse et unique d’essayer de nouvelles approches. Nous avons prolongé le OIAF à deux semaines pour que vous puissiez profiter du festival lorsque cela vous convient le mieux. Et avec la combinaison d’options sur demande et de projections et discussions à l’horaire, personne n’aura à faire de journées de malades pour essayer de voir tous les films et toutes les discussions. Alors asseyez-vous et détendez-vous, vous ne manquerez rien cette année. Au lieu de nos 5 projections de compétions de courts métrages de 75 minutes, nous présenterons 8 films de 45 minutes. Vous avez peur que s’estompe l’excitation face aux compétitions? Soyez sans crainte! Nous les présenterons en direct, à des heures prévues, chaque jour, et les cinéastes, le jury et Joel Frenzer seront de la partie. Si vous les manquez, ils seront de retour sur demande les 3 et 4 octobre. Connectez-vous à l’expérience virtuelle du OIAF pour faire la connaissance de nouveaux amis et en revoir des anciens, visionner des films et des discussions sur demande, ainsi que des présentations en direct et des partys (le populaire Night Owl), en plus de la foire Animation Exposé avec des recruteurs, des écoles d’animation et d’autres organismes fantastiques que vous voudrez rencontrer.

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TABLE OF CONTENTS

Table des matières

01 04 05 17

SPONSORS Partenaires

TICKETS & PASSES Billets et ­laissez-passer

SCHEDULE Horaire

JURIES Jurés

RV@OIAF

37

71

39

ANIMATED SERIES COMPETITION

79

ANIMATION EXPOSÉ

43

YOUNG AUDIENCES COMPETITION

89

OTHER EVENTS & PARTIES

45

CANADIAN STUDENT COMPETITION

93

21

FEATURE COMPETITION

49

29

SHORT FILM COMPETITION

55

Longs-métrages en compétition

Courts-métrages en compétition

@animationfestival

@OttawaAnimationFestival

VR@OIAF

Films pour jeune ­public ­en ­compétition

Films ­d’étudiants ­canadien en ­c­­ompétition

PANORAMA

Films en panorama

TALKS

Rencontres

Autres événements & soirées

NIGHT OWL

97

FAMILY & TEEN GUIDE

Guide pour les familles et les ados

SPECIAL SCREENINGS Programmes ­ spéciaux

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@ottawa.animationfestival

#oiaf20


SPONSORS Partenaires

ORGANIZER

PRESENTER

PARTNERS

SHOWCASE

GOVERNMENT SPONSOR

1

oiaf2020.ca

@ottawa.animationfestival

@oiaf_animation

@OttawaAnimationFestival

@animationfestival


SPONSORS

Partenaires

MAJOR SUPPORTERS

PATRONS

FRIENDS OF THE FESTIVAL

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@OttawaAnimationFestival

@oiaf_animation

@ottawa.animationfestival

oiaf2020.ca

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STAFF

Personnel CFI Executive Director Tom Mcsorley

Managing Director Kelly Neall

Artistic Director Chris Robinson

Director of Industry Programming Azarin Sohrabkhani

Director of Film Operations Keltie Duncan

Festival Administrator Tish Chambers

Film Operations Manager Devin Hartley

Development Manager Stephanie Berrington

Selections Coordinator Jessica Lafrance

Media Coordinator Alex Blahout

Professional Development Events Coordinator Alexander Heemskerk

Box Office Coordinator Alana Lachance

Development Logistics Coordinator Amanda Misko

Graphic Designer Raquel Alves

Festival Host Joel Frenzer

Cover/Poster Illustration Christy Karacas

Sponsorship Reel Dainty Productions

Competition Announcer Draťko Ivezić

3

oiaf2020.ca

Festival Signal Film Emily Pelstring

Writers Chris Robinson, Keltie Duncan, Tish Chambers, Mait Lass, Hendrik Alla, Matthew Corluka

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TICKETS

Billets

TICKETS Billets

REGULAR

$9

CANADIAN INSTITUTE MEMBER

Find links to buy tickets next to events on oiaf2020.ca or head to watch.oiaf2020.ca Trouvez les liens pour acheter des billets à côté de chaque événement sur oiaf2020.ca ou dirigez-vous vers watch.oiaf2020.ca

30% OFF

Find links to buy tickets next to events on oiaf2020.ca or head to watch.oiaf2020.ca. cfi-icf.ca/membership Trouvez les liens pour acheter des billets à côté de chaque événement sur oiaf2020.ca ou dirigez-vous vers watch.oiaf2020.ca. cfi-icf.ca/membership

PASSES Laissez-passer Animapass get access to: All Screenings and Talks.Exclusive Passholder Only content on virtual.oiaf2020.ca including, Exclusive professional development talks, The Animation Exposé Fair (featuring animation schools, recruiters and more!), The virtual NightOwl Party and OIAF Hangouts. Plus The Warner Bros. Animation Artist Gallery, Option to apply for inclusion in Artist Gallery (an opportunity for OIAF participants to showcase their work to studios and recruiters in attendance).

ANIMAPASS

$30–$60

SATURDAY DAY PASS/ PASS DU SAMEDI

L’ Animapass vous donne accès à : Toutes les projections et discussions. Contenu exclusif réservé aux détenteurs de passe sur virtual.oiaf2020.ca y compris: Des discussions de développement professionnel Le Salon Animation Exposé (avec des écoles d’animation, des recruteurs et plus encore!) La soirée virtuelle NightOwl et les Hangouts OIAF. En Plus, La possibilité de participer dans la galerie d’artistes (une opportunité pour les participants de l’OIAF de présenter leur travail aux studios et aux recruteurs présents).

The full Animapass is perfect for the animation fan that wants to see it all. Prices start at just $30 for a Netflix Animation student pass. L’Animapass est parfait pour le fan d’animation qui veut tout voir. Les prix commencent à seulement 30 $ pour un laissez-passer étudiant Netflix Animation.

3 DAY PASS

$40

TOON APPRENTICE PASS FOR TEENS

Saturday, September 26 Samedi, 26 septembre

FREE

$20

Want access to some exclusive content on virtual.oiaf2020.ca. Don’t be disappointed— get your pass the day before by 9pm to get your login in time. Access to all the screenings on watch.oiaf2020.ca is instantaneous as soon as you get your pass.

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@OttawaAnimationFestival

Wed. Sept. 23–Fri. Sept 25 Fri. Sept. 25–Sun. Sept 27 Fri. Oct. 2–Sun. Oct. 4 Mer. 23 sept. – ven. 25 sept Ven. 25 sept. – dim. 27 sept Ven. 2 oct – dim. 4 oct

For high school students, Toon Apprentice Pass Valid on Friday, September 25 Pour les étudiants du secondaire, Le Pass Toon Apprentice - valable le vendredi 25 septembre

Vous voulez accéder à du contenu exclusif sur virtual.oiaf2020.ca. Ne soyez pas déçu­— obtenez votre pass la veille avant 21h00 pour obtenir votre connexion et mot de passe à temps. L’accès à toutes les projections sur watch.oiaf2020.ca est instantané dès que vous obtenez votre pass.

@oiaf_animation

@ottawa.animationfestival

oiaf2020.ca

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SCHEDULE

5

Day 1

Wednesday, Sept. 23

TIME (EDT)

NAME OF SCREENING

12:30 pm­– 1:30 pm

RATING

PAGE

WFH…WTF?

75

6:00 pm– 7:00 pm

OIAF Hang-out

90

7:00 pm– 9:00 pm

Short Film Competition One Gala—Presented by Nelvana

14+

29

Day 2

Thursday, Sept. 24

TIME (EDT)

NAME OF SCREENING

RATING

PAGE

2:00 pm­– 3:00 pm

Molly of Denali Panel—Presented by Canada Media Fund

89

6:00 pm– ­ 7:00 pm

OIAF Hang-out

90

7:00 pm­– 9:00 pm

Short Film Competition Two Gala

14+

30

oiaf2020.ca

@ottawa.animationfestival

@oiaf_animation

@OttawaAnimationFestival

@animationfestival


SCHEDULE

Day 3

Friday, Sept. 25

TIME (EDT)

NAME OF SCREENING

11:00 am­– 12:30 pm

RATING

PAGE

Meet the Schools 1

99

12:30 pm– ­ 1:30 pm

Kay Wilson Stallings and Linda Simensky One-on-One— Presented by Canada Media Fund

87

1:00 pm­– 2:30 pm

Meet the Schools 2

99

2:00 pm­– 3:30 pm

Let’s Talk FX with Cambridge Global Payments followed by a Q&A

79

3:30 pm­– 4:30 pm

PITCH THIS! Finale—Presented by Mercury Filmworks

89

6:00 pm­– 7:00 pm

OIAF Hang-out

90

7:00 pm– ­ 8:30 pm

Short Film Competition Three Gala

14+

31

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oiaf2020.ca

6


SCHEDULE

7

Day 4

Saturday, Sept. 26

TIME (EDT)

NAME OF SCREENING

11:00 am­– 12:00 pm

Animation Made for Young Audiences (6 to 12) Live Competition—Presented by Shaw Rocket Fund

11:00 am– ­ 1:00 pm

RATING

PAGE

6+

98

Meet the Studios 1

79

12:30 pm­– 1:30 pm

Animation Through the Ages: A Guide to Career Longevity— Presented by The Animation Guild

81

1:30 pm­– 3:30 pm

Meet the Studios 2

79

2:00 pm­– 3:00 pm

Portfolios with Walt Disney Animation Studios

82

3:30 pm­– 4:30 pm

Ask Me Anything: Nickelodeon Animation Studio Development

77

5:00 pm– ­ 6:00 pm

Psst: Pixar’s Got a Secret

84

6:00 pm­– 7:00 pm

OIAF Hang-out w/Toon Boom Collaboratory

14+

90

7:00 pm­– 8:30 pm

Short Film Competition Four Gala

14+

32

9:00 pm­– 2:00 am

NightOwl

16+

93

oiaf2020.ca

@ottawa.animationfestival

@oiaf_animation

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SCHEDULE

Day 5

Sunday, Sept. 27

TIME (EDT)

NAME OF SCREENING

RATING

PAGE

11:00 am­– 12:00 pm

Animation Made for Young Audiences (Preschool)­— Presented by the Shaw Rocket Fund

All Ages

98

2:00 pm– ­ 3:00 pm

Toon Boom Professional Workshop

14+

99

6:00 pm­– 7:00 pm

OIAF Hang-out

90

7:00 pm­– 8:30 pm

Short Film Competition Five Gala

14+

33

Day 6

Monday, Sept. 28

TIME (EDT)

NAME OF SCREENING

RATING

PAGE

6:00 pm­– 7:00 pm

OIAF Hang-out

90

7:00 pm– ­ 8:30 pm

Short Film Competition Six Gala

Mature

34

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oiaf2020.ca

8


SCHEDULE

9

Day 7

Tuesday, Sept. 29

TIME (EDT)

NAME OF SCREENING

2:00 pm­– 3:00 pm

RATING

PAGE

Netflix Animation’s Ask Us Anything: Story

83

3:30 pm– ­ 4:30 pm

A Conversation with Peter Ramsey—Presented by ASIFA Hollywood

83

5:00 pm­– 6:00 pm

The Colour of Leadership­—Presented by Disney Television Animation

85

6:00 pm­– 7:00 pm

OIAF Hang-out

90

7:00 pm­– 8:30 pm

Short Film Competition Seven Gala

Mature

35

Day 8

Wednesday, Sept. 30

TIME (EDT)

NAME OF SCREENING

RATING

PAGE

2:00 pm­– 3:00 pm

Netflix Animation’s Ask Us Anything: Art

83

3:30 pm– ­ 4:30 pm

A Conversation with Lauren Fausts

85

5:00 pm­– 6:00 pm

Nickelodeon Art+Biz Creator Talk: ¡A la Aventura!

75

6:00 pm­– 7:00 pm

OIAF Hang-out

90

7:00 pm­– 8:30 pm

Short Film Competition Eight Gala

Mature

36

oiaf2020.ca

@ottawa.animationfestival

@oiaf_animation

@OttawaAnimationFestival

@animationfestival


SCHEDULE

Day 9

Thursday, Oct. 1

TIME (EDT)

NAME OF SCREENING

2:00 pm­– 3:00 pm

RATING

PAGE

Netflix Animation’s Ask Us Anything: Production Management

83

5:00 pm– ­ 6:00 pm

Nickelodeon Art+Biz: Coffee with The Casagrandes

76

Day 10

Friday, Oct. 2

TIME (EDT)

NAME OF SCREENING

RATING

PAGE

2:00 pm­– 3:00 pm

Netflix Animation’s Ask Us Anything: CG

83

3:30 pm– ­ 4:30 pm

Animaniacs Producer & Artists Panel—Presented by Warner Bros. Animation

81

3:30 pm­– 4:30 pm

Behind-the-Scenes of Cartoon Network’s We Bare Bears The Movie

86

5:00 pm­– 6:00 pm

Nickelodeon Art+Biz: Stand Up & Stand Out

75

6:00 pm­– 7:00 pm

OIAF Hang-out

90

7:00 pm­– 8:30 pm

Awards

89

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oiaf2020.ca

10


OIAF 2020 OFFICIAL COMPETITION PRIZES AND AWARDS

FIAO 2020 : PRIX ET RÉCOMPENSES DE LA COMPÉTITION OFFICIELLE

The Official Competition section consists of works selected from more than 1950 submissions from 85 countries by the festival p ­ rogramming team led by Chris Robinson and Keltie Duncan. During the festival, three official juries will judge the Short, Feature and Young Audience’s competition screenings. The Short and Feature jury members are chosen from the international animation community. The Young Audience jury is comprised of Canadian children. On Friday, October 2nd at 7:00pm (EDT), the Jury will announce the award-winning films during the OIAF’s online Awards Ceremony. A Best of Ottawa 2020 screening (a selection of the Festival’s award-winning films) will be offered on-demand on Sunday, October 4th.

La sélection officielle du Festival international d’animation d’Ottawa se compose d’œuvres choisies par l’équipe de programmation, menée par Chris Robinson et Keltie Duncan. Pendant le festival, trois jurys officiels jugent les courts-métrages, longs-métrages et films pour enfants en compétition. Les membres des jurys des courts et longs-métrages sont choisis parmi la communauté internationale de l’animation. Les jurys des films jeune public sont, eux, des enfants sélectionnés dans la région d’Ottawa. Le vendredi 2 octobre, à 19 h 00 (HAE), le jury annoncera les films primés lors de la cérémonie de remise qui sera diffusé en ligne. La sélection des films primés sera offerte en vidéo sur demande le dimanche 4 octobre.

THE OIAF AWARDS The OIAF awards are designed by local artist Tick Tock Tom, with an animation originally created by New York animator George Griffin. OIAF 19 AWARDS • Nelvana Grand Prize for Short Animation • Grand Prize for Feature Animation CATEGORY AWARDS • Narrative Short • Non-Narrative • Bento Box Award for Best Student Animation • Commissioned • e*d films Award for Best Virtual Reality Project • Young Audiences–Preschool • Young Audiences–Ages 6–12 CRAFT AWARDS: • Script • Design • Animation Technique • Sound Public Prize • Awarded to the best film of the short competition as selected by the audience. Canadian Film Institute Award for Best Canadian Animation Film • Awarded to the most outstanding Canadian production in competition and Canadian showcase screenings.

Vimeo Staff Pick Award

• Awarded by the Vimeo Staff Pick team, the winner receives a prize of $2500 (USD) along with a Vimeo Staff Pick. The winning film will be released worldwide for free on Vimeo on Sunday, October 4th. Best Canadian Student Animation Film • Awarded to the most outstanding Canadian student animation work.

oiaf2020.ca

PRIX DE L’OIAF 2019 • Grand Prix Nelvana pour le meilleur court-métrage • Grand Prix pour le meilleur long-métrage PRIX PAR CATÉGORIES • Le Prix pour court-métrage narratif • Le Prix du court-métrage expérimental • Le Prix Bento Box pour court-métrage d’étudiant • Le Prix du film de commande • Le Prix e*d films pour réalité virtuelle • Le Prix Jeune public – Tous petits • Le Prix Jeune public – 6 à 12 ans RÉCOMPENSES ​​TECHNIQUES: • Scénario • Conception graphique • Techniques d’animation • Son

OTHER AWARDS:

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LES PRIX ET RÉCOMPENSES DE L’OIAF Les trophées ont été conçus par l’artiste local Tick Tock Tom, à partir d’une animation originale de l’animateur new-yorkais George Griffin.

@ottawa.animationfestival

AUTRES PRIX: Prix ​​du Public • Décerné par le public au meilleur court-métrage en compétition. Prix de l’Institut canadien du film • Décerné à la production canadienne la plus remarquable parmi les films en compétition et hors-compétition. Prix du choix des employés de Vimeo • Décerné par l’équipe du choix des employés de Vimeo. Le gagnant recevra un prix de 250 $ (USD) ainsi qu’un prix du choix des employés de Vimeo. Le film gagnant sera lancé mondialement et sans frais sur Vimeo le dimanche 4 octobre. Prix pour le meilleur film d’animation d’un étudiant canadien • Décerné au travail le plus remarquable d’un étudiant canadien.

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Animation training in traditional hand drawn, Toon boom harmony and 3D maya


COMPETITION BY CATEGORY ANIMATED FEATURE Bru & Boegie: The Movie | Mike Scott | South Africa

Circumstantial Pleasures | Lewis Klahr | USA

Mosley | Kirby Atkins | New Zealand

My Favorite War | Ilze Burkovska Jacobsen | Latvia & Norway

Nos ili zagovor netakikh (The Nose or The Conspiracy of Mavericks) | Andrey Khrzhanovsky | Russia & Moscow

Zabij To Wyjedz Z Tego Miasta (Kill It and Leave This Town) | Mariusz Wilczynski | Poland

Ballmastrz: 9009: Big Boy Body, Big Boy Heart! Can you Endure the Pain of Love? Babyball, Discover it Now!! | Christy Karacas | USA

Big Mouth: Disclosure the Movie: The Musical! | Bob Suarez | USA

L’amour a ses réseaux Petit Piment (Fail in love - Berlin) | Cécile Rousset & Romain BlancTailleur | France

Les espionnes racontent ‘Yola’ (Women Undercover ‘Yola’) | Aurélie Pollet | France

Life After a Mass Shooting | Curtis Brown, Jon Reyes, Padraic Driscoll & Ignacio Osorio | USA

Undone Episode 2 “The Hospital” | Hisko Hulsing | USA

Adult Swim ‘Super Sentai Rick’ | Pádraig Fagan & Eimhin McNamara | USA

Artemis | Bárbara Cerro | Argentina

Camp Saint Helene ‘Protector’ | Benjamin Clement | USA

Consumerland | Bjarne Anmarkrud | Norway

FME 2019 ‘Trailer’ | Martine Frossard | Canada & France

France ‘Patrouille de France/Dernier tour’ | Emmanuel Lantam | France

Habito ‘The Climb’ | Andy Baker | USA & UK

Happy Year of the Rat 2020 | Lei Lei | China

Jo Goes Hunting ‘Careful’ | Alice Saey | France & Netherlands

ANIMATED SERIES

COMMISSIONED ANIMATION

Kaspersky: Interview | Alexandra Krechman | Russia

Kuricorder Quartet ‘Southpaw’ | Sawako Kabuki | Japan

Lightning Bolt ‘Blow to the Head’ | Caleb Wood | USA

Moon King ‘Free Time’ | Jordan Minkoff | Canada

Onoe Caponoe ‘The Message’ | TOCHKA . | Netherlands, UK & Japan

Plants and Animals ‘House on Fire’ | Emily Pelstring | Canada

Sparks-One for the Ages | Chintis Lundgren | Estonia

Don’t Touch Your Face | Leah Shore | USA

Tricky Women/Tricky Realities 2020 Trailer | Rachel Gutgarts | Austria & Israel

Walking with a Killer | Marcos Sanchez | USA & Chile

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COMPETITION BY CATEGORY NARRATIVE SHORT ANIMATION

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10 000 Ugly Inkblots | Dmitry Geller | Russia & China

4 North A | Howie Shia & Jordan Canning | Canada

Alien Felines From Beyond the Galaxy | Ugo Vittu & Peter the Moon | France

Altötting | Andreas Hykade | Germany, Canada & Portugal

Anonymous | Steven Subotnick | USA

Beyond Noh | Patrick Smith | USA & Japan

cumcumcumcumcum everybody | Peter Millard | UK

Dune | Gabor Ulrich | Hungary

Esfinge urbana (Urban Sphinx) | María Lorenzo | Spain

Flamingo | Kawo Sushijojo | Taiwan & Macao

Fruit | Ivan Li | Canada

Ghosts | Jee-youn Park | South Korea

Hide | Daniel Gray | France, Canada & Hungary

Hierarchy Glitch | Vessela Dantcheva | Bulgaria & Austria

Homeless Home | Alberto Vázquez | France & Spain

Human Nature | Sverre Fredriksen | Netherlands

In the Shadow of the Pines | Anne Koizumi | Canada

Just a Guy | Shoko Hara | Germany

KKUM | Kang-min Kim | South Korea & USA

Kosmonaut (Cosmonaut) | Kaspar Jancis | Estonia

La mer à boire (The Sea Is Too Much to Drink) | Charlotte Arene | France

Living in a Box | Theodore Ushev | Canada

Lizard Ladder | Ted Wiggin | USA

Median Life and/ or Death | Petteri Cederberg | Finland

Moi, Barnabé (I, Barnabé) | Jean-François Lévesque | Canada

Mor visste ingenting (Mother Didn’t Know) | Anita Killi | Norway

My Exercise | Atsushi Wada | Japan

Något att minnas (Something to Remember) | Niki Lindroth von Bahr | Sweden

Opera | Erick Oh | South Korea & USA

Perennial Stream | Sonnye Lim | USA

Polka-dot boy | Sarina Nihei | France

Pracka (Washing Machine) | Alexandra Májová | Czech Republic

Schast’e (Happiness) | Andrey Zhidkov | Russia

Sogni al campo | Magda Guidi & Mara Cerri | France

Thanadoula | Robin Mckenna | Canada

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14


COMPETITION BY CATEGORY SHORT PRESCHOOL ANIMATION FOR AUDIENCES 0–5 Bease no mori no Rabby ‘Okataduke’ (Rabby of Beads Forest ‘Clean up’) | Masam Hashimoto | Japan

C is for Cars | Warren Brown & Adam Goddard | Canada

Der kleine Vogel und die Bienen (The Little Bird and the Bees) | Lena von Döhren | Switzerland

Der Pinguin auf meiner Schumesedecke (Patchwork Penguin) | Angela Steffen | Germany

Fuwa Fuwa Hour: PuiPui & MuuMuu ‘Fushigi na Tane’ (Fluffy Hour: PuiPui & MuuMuu ‘Mysterious Seed’) | Hiroyuki Mizoguchi | Japan

L’odyssée de Choum (Shooom’s Odyssey) | Julien Bisaro | France & Belgium

Odeyalko (Blanket) | Marina Moshkova | Russia

Ollie | Anton Setola | Belgium, Ireland & Norway

Os Pelúcias (The Fluffies) | Sergio Gambier Campos & Vivian Altman Eberhard | Brazil

Abstract Animals | Dana Sink & Ivica Širanovic | USA & Macedonia

Alastair Moock ‘Be A Pain’ | Wishbone Zoë | USA

Devochka-ptichka (The Girl-Bird) | Ekaterina Nevostrueva | Russia

Eve & Garak | Collective: 14 children | Belgium

Glue Boy Saves the Day | Tony Dusko | USA

Kapaemahu | Hinaleimoana Wong-Kalu, Dean Hamer, Joe Wilson & Daniel Sousa | USA

Matilda ir atsargine galva (Matilda and the Spare Head) | Ignas Meilknas | Lithuania

On est pas près d’être des super héros (And Yet We Are Not Superheroes) | Lia Bertels | Belgium, Portugal & France

Pool | Islena Neira & Benoit Michelet | France

ShalaBonBon | Yoko Yuki | Japan

SHORT ANIMATION FOR YOUNG AUDIENCES 6–12

The Girl from the Other Side | Yutaro Kubo & Satomi Maiya | Japan

15

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COMPETITION BY CATEGORY STUDENT ANIMATION 2.3 x 2.6 x 3.2 | Jiaqi Wang | UK

A forrás és a torony (The Wellspring and the Tower) | Melinda Kádár | MoholyNagy University of Art and Design Budapest | Hungary

A Girl Who’s Afraid Of Touching People | Liang Hsin Huang | UK & Taiwan

Cockpera | Kata Gugic | Academy of Fine Arts Zagreb | Croatia

Doghead | Momo Takenoshita | Japan

Endless Forms Most Beautiful | Meredith Binnette | RISD | USA

Hangend (Hanging) | Mathieu Georis | Atelier de production La Cambre Asbl ENSAV | Belgium

Naked | Kirill Khachaturov | Moscow school of new cinema | Russia

Pá kis panelom! (Bye Little Block!) | Éva Darabos | Moholy-Nagy University of Art and Design Budapest | Hungary

Papa Sun | Noah Gallagher | RISD | USA

Room with a Sea View | Leonid Shmelkov | Estonian Academy of Arts | Estonia

SH_T Happens | David Stumpf & Michaela Mihalyi | BFILM, FAMU, Bagan Films | Czech Republic, Slovakia & France

Canaria | Kazuki Yuhara | Japan

Dislokacije (Dislocation) | Milivoj Popovic & Veljko Popovic | Croatia & France

The Book of Distance | Randall Okita | Canada

The Hangman at Home | Michelle Kranot & Uri Kranot | France

The Orchid and the Bee | Frances Adair McKenzie | Canada

VIRTUAL REALITY (VR)

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FEATURE JURY

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Brandon Blommaertis a Montreal based artist who has been working with synesthetic merging of sound and image since he began his animation practice in 2004. Originally from Edmonton Alberta, he obtained his BFA at the Alberta University of the Arts in Calgary, AB and moved to Montreal in 2008 to take part in the National Film Board of Canada’s Hothouse program. Brandon has a diverse practice that includes experimental and narrative film-making, sound & still image creation. His recent film e:e:e:e:e was selected as Arte TV’s top 10 projects of the Wrong Biennale as well as revue24images. com critics’ choice for 2015’s best short films

Brandon Blommaert est un artiste établi à Montréal qui travaille avec la synesthésie en fusionnant le son et l’image depuis ses débuts en animation en 2004. Originaire d’Edmonton, en Alberta, il a obtenu son baccalauréat en beaux-arts de l’Alberta University of the Arts à Calgary, puis il est déménagé à Montréal en 2008 pour participer au programme Hothouse de l’Office national du film du Canada. Brandon compte une pratique diversifiée qui comprend la cinématographie expérimentale et narrative, et la création de son et d’images fixes. Son récent film, e:e:e:e:e, a été sélectionné parmi les 10 meilleurs projets du Wrong Biennale de Arte TV ainsi que pour le choix de la critique de revue24images.com pour les meilleurs courts métrages de 2015.

Lise Fearnleybegan her animation career as Director of Photography for puppet master Pjotr Sapegin. She started working as a producer, and in 1996 she co-founded Mikrofilm. Lise has produced more than 30 animated shorts, as well as a broad range of commissioned films. Among her credits is Torill Kove’s Oscar winning short, The Danish Poet, with NFB as co-producer. Lise and Mikrofilm are currently in production with their feature film debut, Titina, directed by Kajsa Næss.

Lise Fearnleya débuté sa carrière en animation en tant que directrice de la photographie pour le marionnettiste Pjotr Sapegin. Elle a commencé à travailler comme réalisatrice, puis en 1996, elle a cofondé Mikrofilm. Lise a produit plus de 30 courts métrages animés, ainsi qu’une vaste gamme de films commandés. Son expérience comprend le court métrage de Torill Kove (The Danish Poet), gagnant d’un Oscar®, qui fut coréalisé par NFB. Lise et Mikrofilm sont présentement en train de produire leur premier long métrage, Titina, réalisé par Kajsa Næss.

Amy Kravitzstarted making animated films when she was eleven. She studied Social Anthropology at Harvard University (AB), and Experimental Animation at California Institute of the Arts (MFA). Her films have won many awards and have screened throughout the world. Her animation is a quiet testimony to the intimate collaboration between viewer and maker that takes place between each drawing. Her singular teaching methods, developed over five decades of experience, encourage students to develop individual approaches to the medium. Her classes explore animation as a distinct language that employs unusual materials, unique spatial expressions, and visual metaphors as its grammar.

Amy Kravitz a commencé à faire des films animés quand elle avait 11 ans. Elle a étudié l’anthropologie sociale à l’Université Harvard (AB), et en animation expérimentale au California Institute of the Arts (MFA). Ses films ont remporté plusieurs prix et ont été projetés partout au monde. Son animation est un témoignage silencieux de la collaboration intime entre le spectateur et le créateur qui se tient entre chaque dessin. Ses méthodes d’enseignement particulières, mises au point au cours de cinq décennies d’expérience, encouragent les étudiants à développer des démarches individuelles face au médium. Ses cours explorent l’animation en tant que langage distinct qui emploie des matériaux ordinaires, des expressions spatiales uniques et pour grammaire, des métaphores visuelles.

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SHORT JURY

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Pixie Cramis a filmmaker and animator who lives in the Ottawa-Gatineau region. She creates work on themes of nature, technology, and war. Her films have screened at festivals across North America, in Europe and in China. On top of her own art practice, she works as a freelance director, cinematographer and editor.

Pixie Cramest une cinéaste et animatrice qui vit dans la région d’Ottawa-Gatineau. Elle crée des œuvres sur les thèmes de la nature, de la technologie et de la guerre. Ses films ont été projetés à des festivals à travers l’Amérique du Nord, l’Europe et la Chine. En plus de sa propre pratique artistique, elle travaille comme réalisatrice, cinématographe et éditrice indépendante.

Donald McWilliamsis a live action and animation filmmaker. Meeting Norman McLaren in 1968 inspired him to become a filmmaker. He would later work with McLaren and this led to two films on McLaren - Creative Process: Norman McLaren (1990), Norman McLaren: Animated Musician (2014). McWilliams’ other films include The Passerby (1995), which was selected as one of the best 50 filmic essays since 1895 by the Vienna Film Festival in 2007; he was nominated for an Oscar® as producer and editor of Sunrise over Tiananmen Square in 1999. McWilliams taught experimental animation and documentary production in Norway, and has been a part of the NFB Animation Studio for four decades.

Donald McWilliamsest un cinéaste et animateur. Après avoir rencontré Norman McLaren en 1968, il a été inspiré à devenir cinéaste. Il travailla plus tard avec McLaren, ce qui l’amena à faire deux films - Creative Process: Norman McLaren (1990), Norman McLaren: Animated Musician ( 2014 ) . Parmi les autres films de McWilliams, on compte The Passerby (1995), qui fut sélectionné comme l’un des 50 meilleurs essais cinématographiques depuis 1895 par le Festival du film de Vienne en 2007; il fut nominé pour un Oscar® comme réalisateur et éditeur de Sunrise over Tiananmen Square en 1999. McWilliams a enseigné l’animation expérimentale et la production de documentaires en Norvège, et fut un membre du studio d’animation NFB pendant quatre décennies.

Wong Ping was born in Hong Kong, and received his BA from Curtin University, Perth, Australia in 2005. As a self-taught animator, Wong’s videos take on a bright and childlike aesthetic, creating a light-hearted, humorous, and accessible approach to the deep psychological issues experienced by the protagonists in his films. In 2018, he was the recipient of the inaugural Camden Arts Centre Emerging Arts Prize, and in 2019, he was one of the winners of The Ammodo Tiger Short Competition at the 48th International Film Festival Rotterdam. Wong’s work is held in several permanent collections including Solomon R. Guggenheim Museum, New York; M+, Hong Kong; KADIST, Paris/ San Francisco; Fosun Art Foundation, Shanghai, among others.

Wong Pingest né à Hong Kong, et a reçu en 2005 son B.A. de l’Université Curtin, à Perth, en Australie. Parce que Wong est un animateur autodidacte, ses vidéos prennent une esthétique brillante et enfantine, donnant place à une approche légère, humoristique et accessible des problèmes psychologiques profonds que vivent les protagonistes de ses films. En 2018, il fut le récipiendaire du prix inaugural Camden Arts Centre Emerging Artist Prize, et en 2019, il fut l’un des gagnants de la Ammodo Tiger Short Competition lors du 48e Festival international du film de Rotterdam. Les œuvres de Wong sont exposées dans de nombreuses collections permanentes, dont celles du musée Solomon R. Guggenheim, à New York; M+, à Hong Kong; KADIST, à Paris / San Francisco; Fosun Art Foundation, à Shanghai, parmi d’autres

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FEATURE COMPETITION

Longs-métrages en compétition

14+

Bru & Boegie

Two friends with no feet decide to make South Africa’s first feature length animated film, but as Boegie only has 5 bucks in his underwear, it’s going to have to be 2D. Well, that’s just fine because Bru checked online and they’d be the first. You can’t make a film without an idea though, so Bru needs to meditate to find the answer. Turns out meditating is the answer, as in—that’s the film; Bru meditating for 90 minutes. Cut, print, check the gate, moving on. Watch this film as you also meditate on your giant pillow next to your lava lamp as you burn incense with your Kit-Cat™ clock wagging its tail on the wall because the ambient music is really quite soothing. Watch this film while you work from home, which you didn’t know you could do but turns out all it took was a pandemic for your work to let you do your job in your pajamas. Watch this film while you ponder the changing of the seasons. It’s September already? What the f*** was this year anyway? Is that a tickle in my throat? Is it covid or am I just dehydrated? Drink some water. Or watch this film while you write about this film for the OIAF program book as you work from home with your lava lamp and Kit-Cat™ clock… Meta.

On-Demand

21

Mike Scott Caty Davis Blättermann South Africa||2017 2019||10:00 94:12 Germany

Deux amis qui n’ont pas de pieds décident de faire le premier long métrage animé de l’Afrique du Sud, mais puisque Boegie n’a que 5 dollars dans ses bobettes, le film devra être en 2D. C’est bien correct, parce que Bru a regardé en ligne, et ils seraient les premiers. On ne peut pas faire un film sans idée, par contre, alors Bru se met à méditer pour trouver la réponse. Finalement, la méditation est la réponse, dans le sens que, c’est ça le film : Bru qui médite pendant 90 minutes. On coupe, on imprime, on fait le poil, on continue. Regardez ce film en méditant sur votre coussin géant à côté de votre lampe à lave alors que vous faites brûler de l’encens et que votre horloge Kit-Cat™ bat de la queue sur le mur, parce que la musique d’ambiance est vraiment relaxante. Regardez ce film en travaillant de la maison, chose que vous ne croyiez pas possible, jusqu’à ce que survienne la pandémie et que votre travail vous laisse bosser en pyjamas. Regardez ce film pendant que vous réfléchissez au changement des saisons. Déjà le mois de septembre? Non mais c’était quoi cette fout*** année? Qu’est-ce qui me chatouille dans la gorge? Est-ce la COVID, ou bien suis-je déshydraté? Buvez de l’eau. Ou bien, regardez ce film en écrivant une description de ce film pour le livret du programme de l’OIAF en travaillant de chez vous, avec votre lampe à lave et votre horloge Kit-Cat™… Méta.

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FEATURE COMPETITION

Longs-métrages en compétition

14+

Lewis Klahr USA | 2020 | 65:15

Circumstantial Pleasures “Is anything wrong?” a voice asks in the middle of Lewis Klahr’s latest collage animation feature, Circumstantial Pleasures. Well, yes, a whole lot is wrong. Today, we’re living in a world so littered with conflicting and outrageous claims, that we’ve become cynical to the point where we just stop trying to understand anything. We check our heads in at the door and instead soothe our souls with social media or streaming binges. And, as Hannah Arendt said in a 1974 interview, “a people that can no longer believe anything cannot make up its mind. It is deprived not only of its capacity to act but also of its capacity to think and to judge. And with such a people you can then do what you please.” This is the world we find ourselves in today. This is a world that Lewis Klahr is trying to decipher in Circumstantial Pleasures. This collection of six short films by the acclaimed collage artist contemplates the dizzying, horrifying effects of capitalism on humans and the planet. Unrelenting and furious, Klahr critiques capitalism and the effects of its failings. Klahr’s myriad of images reveal a failed system that has broken us (physically, mentally and emotionally) because it never fitted us to begin with. Featuring music by David Rosenboom, Tom Recchion, and an utterly ghostly wail of a piece by Scott Walker, Klahr uses iconographic images of world leaders, politicians, dictators, assassins alongside familiar capitalist imagery (cars, barcodes, highways, cash, airplanes, oil, skyscrapers) and a striking image of a headless statue of liberty as he ponders capitalism’s dumping grounds: corruption, hyper consumerism, disease, ecological disaster. There are no readily available solutions to be found in Circumstantial Pleasures. Klahr seems to be trying to make sense of this mess for himself, perhaps with the hopes that we might leave the theatre (or wherever one watches movies these days) horrified, nauseous and angry. And that’s just fine. Let it sink slowly into your pores, cause with all the global chaos of this moment, Circumstantial Pleasures is the film we need now, whether you want it or not.

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« Quelque chose ne tourne pas rond? », demande une voix au milieu du plus récent long métrage d’animation par collage de Lewis Klahr, Circumstantial Pleasures. Eh oui. Il y a bien des choses qui ne tournent pas rond.

Nous vivons aujourd’hui dans un monde tant pollué par des allégations contradictoires et outrageuses, que nous sommes devenus cyniques au point de simplement arrêter d’essayer de comprendre quoi que ce soit. Nous laissons nos têtes à l’entrée et au lieu, nous réconfortons nos âmes à l’aide des médias sociaux et de la consommation immodérée de diffusion en continu. Et, comme l’a dit Hannah Arendt lors d’une entrevue en 1974, « ceux qui ne peuvent plus croire en rien, ne peuvent plus prendre de décisions. Ils sont privés non seulement de leur capacité à agir, mais aussi à penser et à juger. Ces gens-là, on peut en faire ce qu’il nous plaît. ». Tel est le monde dans lequel nous nous trouvons aujourd’hui. Ce monde, Lewis Klahr tente de le déchiffrer dans Circumstantial Pleasures. Cette collection de six courts métrages par l’artiste du collage acclamé contemple les effets étourdissants et horrifiants du capitalisme sur les humains et sur la planète. Implacable et furieux, Klahr critique le capitalisme et les effets de ses défauts. La myriade d’images de Klahr révèle un système défaillant qui nous a brisés (physiquement, mentalement et émotionnellement) parce qu’il n’a jamais été adapté à nous. Présentant de la musique de David Rosenboom, Tom Recchion, et une pièce gémissante des plus fantomatiques de Scott Walker, Klahr se sert d’images iconographiques de dirigeants mondiaux, politiciens, dictateurs, assassins, aux côtés d’imagerie capitaliste familière (voitures codes-barres, autoroutes, monnaie, avions, pétrole, gratte-ciel) et l’image frappante d’une statue de la liberté sans tête, alors qu’il réfléchit sur les dépotoirs du capitalisme : la corruption, l’hyper consommation, la maladie, les désastres écologiques. Il n’y a pas de solutions directes offertes dans Circumstantial Pleasures. Klahr semble lui-même essayer de comprendre ce brouhaha, peut-être en espérant que nous quittionsle cinéma (ou là où l’on regarde des films de nos jours) horrifiés, nauséeux et en colère.

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FEATURE COMPETITION

Longs-métrages en compétition

Mature

Zabij To Wyjedz Z Tego Miasta (Kill it and Leave This Town)

“Let me go back to the start again,” sings a voice in Mariusz Wilczynski’s hand drawn animated feature, Kill it and Leave This Town. Imagine if you could have your family, loved ones, assorted heroes and idols all come together and reside snuggly within the comfort of your memories, no matter how fictionalized or misremembered (as Paul Auster once wrote, “memory is a story told a second time”). Kill it and Leave This Town does just that. Seeking safety after the death of his parents along with a close friend, an unnamed man (let’s face it, we are in Wilczynski’s memories) hides in the land of his memories where time pauses and everyone returns to life. Along the way, we meet an assortment of anonymous characters scattered about the Polish town of Łódź (where Wilczynski grew up). Eventually, the man realizes that even his subconscious river of misrememories can’t stop time and aging and that he must swim back to the shores of reality. Eschewing a traditional narrative, Kill it and Leave This Town takes the form of a free flowing dream, a collage of memories real, imagined and reconsidered. With its bluesy, soulful guitar driven soundtrack and assorted non-sequiturs, you feel like you’re sitting in a smoking bar, slightly drunk, as the band plays through overlapping disconnected voices of the equally tipsy patrons. Kill it and Leave This Town is a beautiful, messy, grotesque, heart wrenching and ultimately loving ode to a time and place no more, to people now gone.

On-Demand

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Mariusz Wilczynski Poland | 2020 | 88:00

« Laissez-moi revenir au début, » chante une voix dans le long métrage animé dessiné à la main de Mariusz Wilczynski, Kill it and Leave This Town. Imaginez si vous pouviez rassembler votre famille, vos proches, vos divers héros et idoles, blottis dans le confort de vos souvenirs, aussi fictionnalisés et mal rappelés soient-ils (comme l’a déjà écrit Paul Auster « la mémoire est une histoire racontée une deuxième fois »). C’est exactement ce que fait Kill it and Leave This Town. Se cherchant un abri après la mort de ses parents et d’un ami proche, un homme sans nom (ne soyons pas surpris, nous sommes dans les souvenirs de Wilczynski) se cache sur la terre de ses souvenirs où le temps s’arrête et tous reviennent à la vie. En chemin, on rencontre un assortiment de personnages anonymes éparpillés dans la ville polonaise de Łódź (où Wilczynski a grandi). Éventuellement, l’homme se rend compte que même sa rivière subconsciente de souvenirs imparfaits ne peut arrêter le temps et le vieillissement, et qu’il doit nager jusqu’au rivage de la réalité. Faisant fi du récit traditionnel, Kill it and Leave This Town prend la forme d’un rêve vaguant librement, un collage de souvenirs réels, imaginés et vus sous un autre angle. Accompagné d’une bande sonore de guitare aux tons de blues et de soul et d’un assortiment de non-sequiturs, le film vous donne l’impression d’être assis dans un bar-fumoir, un brin soûl, alors que le groupe joue par-dessus les voix entremêlées et déconnectées des clients tout aussi ivres. Kill it and Leave This Town est une ode belle, désorganisée, grotesque, déchirante et, ultimement, une ode d’amour à un temps et un lieu qui n’existent plus, à des personnes maintenant parties.

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FEATURE COMPETITION

Longs-métrages en compétition

All Ages

Kirby Atkins New Zealand | 2020 | 99:39

Mosley This New Zealand film will introduce you to your new favorite pachyderm; thoriphants, who will take you on a moving and heroic journey. Mosley and his family live, enslaved, on a human’s farm. Mosley pulls the farmer’s plough through the fields all day while his pregnant wife looks after his curious son, Rue, who explores the farm and its surroundings. Legend tells of the Uprights; thoriphants that had hands, stood on two legs, and were free. When Rue shows his dad an underground passageway covered in paintings of Uprights, even skeptical Mosley has to wonder if the legend could be true. When his family is threatened, Mosley decides it’s time to take a chance; he runs away to follow the mysterious passageway. Narrowly escaping the bounty hunter sent after him, he finds himself in a beautiful temple and meets three Uprights. Not only do they exist, but they are going to take Mosley back to their village and promise to help him. But finding the Uprights isn’t the happy ending of the story- not everything is as it seems. Mosley will have to venture forth into more danger and adventure in hopes of saving both his family and the Uprights. At times dark, funny, and philosophical, Mosley is a hero’s journey with familiar voices and humor for children to enjoy, with layers of anthropological allegories for the rest of us to contemplate..

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Ce film de la Nouvelle-Zélande vous présentera votre nouveau pachyderme favorit; les thoriphants, qui vous mèneront sur un parcours touchant et héroïque. Mosley et sa famille vivent, en esclavage, sur une ferme d’humains. Mosley tire la charrue du fermier dans les champs toute la journée, alors que sa femme enceinte s’occupe de son fils curieux, Rue, qui explore la ferme et ses environs. La légende raconte l’histoire des Uprights (les Debouts); des thoriphants qui avaient des mains, se tenaient sur deux jambes, et étaient libres. Quand Rue montre à son père un passage souterrain couvert de peintures des Uprights, même Mosley le sceptique se demande si la légende pourrait être vraie. Quand sa famille est menacée, Mosley décide qu’il est temps de tenter sa chance; il se sauve pour suivre le mystérieux passage. Il échappe de près au chasseur de primes qu’on a mis à ses trousses, se trouve dans un magnifique temple et rencontre les Uprights. Non seulement existent-ils, mais ils vont ramener Mosley à leur village et lui promettre de l’aider. Cependant, trouver les Uprights n’est pas l’heureuse fin de l’histoire – la réalité n’est pas ce qu’elle paraît être. Mosley devra se lancer à travers d’autres dangers et aventures dans l’espoir de sauver sa famille ainsi que les Uprights. Sombre, drôle et philosophique par moments, Mosley raconte le parcours d’un héro avec des voix familières et de l’humour pour l’amusement des enfants, accompagné de couches d’allégories anthropologiques que le reste d’entre nous pouvons contempler.

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FEATURE COMPETITION

Longs-métrages en compétition

14+

Ilze Burkovska-Jacobsen Latvia & Norway | 2020 | 81:57

My Favorite War

An autobiographical documentary, My Favorite War tells director Ilze Burkovska-Jacobsen’s story of her childhood in Latvia, then part of the Soviet Union, during the Cold War. As a child, watching her mother have to line up for butter, young Ilze is aware of the consequences of this authoritarian state she lives in. But, not wanting to make their lives any harder, she goes along with what a good little Soviet child should do, wanting to believe that the system will reward them. Dreaming of being a journalist, her investigative nature starts to take over as a teenager as she and a friend start to question and push against the propaganda that’s been their education their whole lives. It was not an easy journey, as present-day interviews between Ilze and her friend reveal. Despite the hopelessness of young Ilze’s world, the film is infused with a hopefulness, like only a child could have. Though we have the perspective to see all the horrors and injustices of the Soviet rule from the beginning of the film, and from our place in its future, Ilze has to take her own journey to discover what’s going on and what she’s going to do about it: “I had to make a choice then—who do I want to become and what do I believe in? The same questions young generations are asking themselves today.” Though Ilze’s story is very personal, the film brings forth universal significance, as we realize experiences like Ilze’s are not so unique and not all in the past.

On-Demand

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Un documentaire autobiographique, My Favorite War raconte l’enfance de la réalisatrice, Ilze Burkovska-Jacobsen, en Lettonie, qui faisait autrefois partie de l’Union soviétique pendant la guerre froide. Enfant, elle voit sa mère faire la file pour du beurre, et la jeune Ilze est consciente des conséquences de cet état autoritaire dans lequel elle vit. Néanmoins, ne voulant pas rendre leur vie plus difficile, elle suit ce que devrait faire tout bon enfant soviet, voulant croire que le système les récompensera. Rêvant d’être journaliste, sa nature investigatrice commence à prendre le dessus quand elle est adolescente, et avec une amie, elle commence à questionner et à se rebeller contre la propagande qui fut leur éducation toute leur vie. Ce ne fut pas un parcours facile, comme le révèlent les entrevues contemporaines entre Ilze et son amie. Malgré le monde sans espoir de la jeune Ilze, le film est infusé d’un optimisme dont seul un enfant pourrait faire preuve. Bien que nous ayons la perspective pour voir toutes les horreurs et les injustices du règne soviétique du début du film et d’où nous nous situons dans son avenir, Ilze, quant à elle, doit faire son propre chemin afin de découvrir ce qui se passe et comment elle va y faire face : «Je devais alors faire un choix – qui veux-je ­devenir, et en quoi est-ce que je crois? Les mêmes questions que se posent les jeunes générations de nos jours.» Bien que l’histoire d’Ilze soit très personnelle, le film présente une signification universelle quand nous nous rendons compte que des expériences comme celles d’Ilze ne sont pas si uniques, et qu’elles ne sont pas toutes dans le passé.

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FEATURE COMPETITION

Longs-métrages en compétition

14+

Nos ili zagovor netakikh

Andrey Khrzhanovsky Russia | 2020 | 89:40

(The Nose or The Conspiracy of Mavericks)

Rooted in Dmitri Shostakovich’s famous opera based on Gogol’s classic story, The Nose, acclaimed Russian animator, Andrey Khrzhanovsky, weaves cut out animation, live action scenes and documentary footage into a beautiful and mindswirling cinematic three-part fever dream that pays tribute to 20th Century Russian artists and their struggles and sacrifices during Stalin’s reign of terror. Opening on an airplane, the passengers (I suspect there are some recognizable faces among them) watch an assortment of classic Russian films as two gentlemen (one being Khrzhanovsky) discuss the importance of Gogol’s surrealist novella and what it means to be civilized. From there, Khrzhanovsky takes us on a whirling operatic roller coaster ride through early 20th century Russia that features: an animated/operatic reenactment of Gogol’s story about a guy’s nose running off and assuming a life of its own; and a look at artistic existence (framed around celebrated writer, Mikhail Bulgakov) under Stalin’s twisted regime, the absurd and hostile reaction to Shostakovich’s 1934 opera, Lady Macbeth of the Mtsensk District, that saw it banned from being performed until 1961. Within the narrative chaos (filled with digressions, inside jokes, and more than a bit of cheekiness), The Nose or The Conspiracy of Mavericks, is a fierce and passionate requiem to the Russian avantgarde and in fact to all artists who have been silenced by oppressive and violent regimes.

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Enraciné dans l’opéra connu de Dmitri Shostakovich basé sur l’histoire classique de Gogol, The Nose, l’animateur russe acclamé, Andrey Khrzhanovsky, tisse ensemble de l’animation par découpage, des scènes d’action en direct et des séquences documentaires en un magnifique rêve fébrile étourdissant et cinématique en trois parties qui rend hommage aux artistes russes du 20e siècle et à leurs difficultés et sacrifices lors du règne de terreur de Stalin. L’histoire commence dans un avion. Alors que les passagers (je suspecte qu’il y a quelques visages reconnaissables parmi eux) regardent divers films classiques russes, deux gentilshommes (l’un étant Khrzhanovsky) discutent de l’importance de la nouvelle surréaliste de Gogol, et de ce que ça signifie que d’être civilisé. À partir de là, Khrzhanovsky nous fait entrer dans un manège tourbillonnant aux airs d’opéra à travers la Russie du début du 20e siècle qui présente : une reconstitution animée/lyrique de l’histoire de Gogol où le nez d’un homme s’enfuit et entame sa propre vie; et un regard sur l’existence artistique (bâti autour de l’auteur célébré, Mikhail Bulgakov) sous le régime tordu de Stalin, la réaction absurde et hostile à l’opéra de Shostakovich en 1934, Lady Macbeth of the Mtsensk District, qui s’est vu banni de représentation jusqu’en 1961. À l’intérieur du chaos narratif (rempli de disgressions, de blagues privées et d’audace à revendre ), The Nose or The Conspiracy of Mavericks, est un requiem féroce et passionné de l’avant-garde russe et, en fait, à tous les artistes qui ont été bâillonnés par des régimes oppressifs et violents.

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14+

SHORT FILM COMPETITION 1

Courts-métrages en compétition 1 Altötting | Andreas Hykade | Germany, Canada & Portugal | 11:20 |Narrative Short Animation “You know, when I was a boy, I fell in love with the Virgin Mary. It happened in a little Bavarian town called Altötting.”

Lightning Bolt ‘Blow to the Head’ | Caleb Wood | USA | 03:12 | Commissioned Animation “One blow to the head and we’ll be lying on the floor.”

Happy year of the Rat 2020 | Lei Lei | 0:45 | 2020 | China | Commissioned 3 little mice are travelling to join their family and partying together.

Polka-dot boy | Sarina Nihei | France | 07:40| Narrative Short Animation A boy who suffers from a disease that leaves his arms covered in polka-dots discovers a hidden connection between the disease and a religious group.

La mer à boire (The Sea Is Too Much to Drink) | Charlotte Arene | France | 01:53 | Non-Narrative Short Animation I had some trouble with the sea that year.

Human Nature | Sverre Fredriksen | Netherlands | 02:15 | Narrative Short Animation People are animals too…

SH_T Happens | David Stumpf & Michaela Mihalyi | FAMU | Czech Republic, Slovakia & France | 13:10 | Student Animation The caretaker is exhausted by everything, his frustrated wife and one totally depressed deer.

Papa Sun | Noah Gallagher | Rhode Island School of Design | USA | 06:20 | Student Animation The sun, the water, the moon, and the beach.

Wed, Sept 23 7:00 pm

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14+

SHORT FILM COMPETITION 2

Courts-métrages en compétition 2 My Exercise | Atsushi Wada | Japan | 02:36 | Narrative Short Animation A boy is doing his exercises with his dog.

Room with a Sea View | Leonid Shmelkov | Estonian Academy of Arts | Estonia | 11:55 | Student Animation Herbert, an insomniac, arrives in the seaside city on a long working trip and falls in love with a florist.

Walking with a Killer | Marcos Sanchez | USA & Chile | 04:28 | Commissioned Animation People’s daily lives are threatened by the spread of a mysterious skin condition involving flowers and goo.

Mor visste ingenting (Mother Didn’t Know) | Anita Killi | Norway | 11:17 | Narrative Short Animation Attempting to escape her reality, a desperate girl climbs down into a deep dark silo. She finds solace in an injured bird.

Kaspersky: Interview | Alexandra Krechman | Russia | 01:03 | Commissioned Animation Imagine being in a job interview as photos from your social media accounts literally break through the window.

Hangend (Hanging) | Mathieu Georis | Atelier de production La Cambre Asb l ENSAV | Belgium | 02:48 | Student Animation Snap! But why are the branches snapping?

Artemis | Bárbara Cerro | Argentina | 01:04 | Commissioned Animation On the Moon, women have fun while they wait to be illuminated by the sun.

Thanadoula | Robin Mckenna | Canada | 06:38 | Narrative Short Animation Layering real-life details with an otherworldly magic, Thanadoula recounts the story of an end-of-life doula brought to her calling through the loss of her beloved sister.

Esfinge urbana (Urban Sphinx) | María Lorenzo | Spain | 04:53 | Non-Narrative Short Animation All these faces look at us with widely opened eyes, as if they tell us that we exist, but we might not exist—and the world would go on.

Thurs, Sept 24 7:00 pm

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14+

SHORT FILM COMPETITION 3

Courts-métrages en compétition 3 Living in a Box | Theodore Ushev | Canada | 03:50 | Non-Narrative Short Animation antiMATION planDEMIC planTOMIME bFILM

Hide | Daniel Gray | France, Canada & Hungary | 10:00 | Narrative Short Animation Two brothers entertain themselves with a game of hide and seek. As one counts, the other hides in a small cabinet. Seconds pass… then minutes… years… and decades.

‘Don’t Touch Your Face’ | Leah Shore | USA | 01:06 | Commissioned Animation A PSA music video to not touch your face.

Endless Forms Most Beautiful | Meredith Binnette | RISD | USA | 05:27 | Student Animation A data driven exploration into the universal capacity for growth.

In the Shadow of the Pines | Anne Koizumi | Canada | 08:05 | Narrative Short Animation A deeply personal story about a difficult father-daughter relationship inspired by the filmmaker’s own upbringing with her immigrant dad, who was also the janitor at the elementary school she attended.

Sparks - One for the Ages | Chintis Lundgren | Estonia | 03:45 | Commissioned Animation An introverted office worker daydreams of success.

Ghosts | Jee-youn Park | South Korea | 09:55 | Non-Narrative Short Animation In the boredom of life, they became ghosts. The crows are after them.

Alien Felines From Beyond the Galaxy | Ugo Vittu & Peter the Moon | France | 04:13 | Narrative Short Animation A world of fish inhabiting sumptuous cathedrals is attacked by a horde of feline pirates. A dolphin shock duo is sent to the rescue. Who will emerge victorious from this battle of claws?

Fri, Sept 25 7:00 pm

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14+

SHORT FILM COMPETITION 4

Courts-métrages en compétition 4 Något att minnas (Something to Remember) | Niki Lindroth von Bahr | Sweden | 05:12 | Narrative Short Animation A lullaby before the great disaster. Two pigeons visit a zoo without animals, a snail measures his blood pressure at the doctor, in the CERN laboratory something has gone terribly wrong.

Plants and Animals ‘House on Fire’ | Emily Pelstring | Canada | 04:35 | Commissioned Animation A surprising, steady stream of domestic objects and creatures float, spin, and fly through the frame.

Naked | Kirill Khachaturov | Moscow school of new cinema | Russia | 14:40 | Student Animation Somewhere in Eastern Europe due to an accident in a laboratory, the hero gains superpowers that he does not want.

Habito ‘The Climb’ | Andy Baker | USA & UK | 00:30 | Commissioned Animation A man dukes it out with a werewolfish cast of flesh-eating rival buyers who are all competing for their dream home.

Lizard Ladder | Ted Wiggin | USA | 05:20 | Narrative Short Animation Animals encounter a magical ball that sows conflict between them.

Hierarchy Glitch | Vessela Dantcheva | Bulgaria | Austria | 06:25 | Non-Narrative Short Animation An abstract take on the idea of a Common Good Economy model.

Sat, Sept 26 7:00 pm

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Cockpera | Kata Gugic | Academy of Fine Arts Zagreb | Croatia (Hrvatska) | 04:34 | Student Animation A short opera inspired by Aesop’s fable “The Fighting Cocks and the Eagle”.

KKUM | Kang-min Kim | South Korea & USA | 08:53 | Narrative Short Animation My mother’s dreams have always been strong premonitions for important moments in my life. I rely on her dreams more than any religion.

Sa medi, 26 sept 19h00

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14+

SHORT FILM COMPETITION 5

Courts-métrages en compétition 5 Moon King ‘Free Time’ | Jordan Minkoff | Canada | 05:40 |Commissioned Animation Over the clear blue seas peace is disturbed and restored. A speedboat-cruising imposter rumbles through the reef. A toxic sunscreen squirts the sun out of the sky. A dolphin gets its revenge.

Homeless Home | Alberto Vázquez | France & Spain | 15:00 | Narrative Short Animation No one can escape their roots, however rotten they may be.

Beyond Noh | Patrick Smith | USA & Japan | 03:55 | Non-Narrative Short Animation A cultural journey through the ritual, utility, deviance and politics of masks.

2.3 x 2.6 x 3.2 | Jiaqi Wang | UK | 03:47 | Student Animation Kareau is a wooden figure from the Nicobar Islands that is placed outside a sick person’s home to scare away the bad spirits of disease.

Tricky Women/Tricky Realities 2020 Trailer | Rachel Gutgarts | Austria & Israel | 00:51 | Commissioned Animation A windy pastoral patch of flora and fauna…

Pá kis panelom! (Bye Little Block!) | Éva Darabos | Moholy-Nagy University of Art and Design Budapest | Hungary | 08:42 | Student Animation A woman is upset to learn that she must leave her apartment. Her tears create a rather surreal panorama of the area and its people.

Onoe Caponoe ‘The Message’ | TOCHKA. | Netherlands, UK & Japan | 02:30 | Commissioned Animation One is left behind on a planet burned out by climate change, and another one is moving to other planets by spaceship.

Opera | Erick Oh | South Korea | USA | 08:44 | Non-Narrative Short Animation The history, structures and rhythms of human history are seen through a glorious, massive pyramid.

Sun, Sept 27 7:00 pm

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Mature

SHORT FILM COMPETITION 6

Courts-métrages en compétition 6 Kuricorder Quartet ‘Southpaw’ | Sawako Kabuki | Japan | 01:53 | Commissioned Animation Organisms dance vigorously along with delightful recorders.

10 000 Ugly Inkblots | Dmitry Geller | Russia & China | 08:10 | Narrative Short Animation Two artists who haven’t met for a while are going towards each other.

Adult Swim ‘Super Sentai Rick’ | Pádraig Fagan, Eimhin McNamara | USA | 00:15 | Commissioned Animation Rick and Morty mobilize a giant robot to defeat a Kaiju.

Perennial Stream | Sonnye Lim | USA | 04:40 | Non-Narrative Short Animation A single, drawn line acts as a seed, which then propagates into larger forms, gathering to create a cyclic flow of movement and stillness within an abstracted ecosystem.

Moi, Barnabé (I, Barnabé) | Jean-François Lévesque | Canada | 15:09 | Narrative Short Animation A luminous look at a desperate man’s existential crisis. During a night of stormy drunkenness, he receives a visit from a mysterious bird and is forced to reconsider his life.

Jo Goes Hunting ‘Careful’ | Alice Saey | France & Netherlands | 03:58 | Commissioned Animation On the borderless map of a magical planet, little beings pick, brush, weave, fish and collect elements from their natural environment to sustain their life as a group.

Dune | Gabor Ulrich | Hungary | 03:30 | Non-Narrative Short Animation The sounds as witnesses. They blur into memories, half-dreams, it is undecided if they are real or not.

Doghead | Momo Takenoshita | Japan | 04:24 | Student Animation A life is born. Creates a new planet. Here comes the visitors.

A forrás és a torony (The Wellspring and the Tower) | Melinda Kádár | Moholy-Nagy University of Art and Design Budapest | Hungary | 07:35 | Student Animation When the wellspring that sustains the ecosystem dries out, its cry for help triggers a process which uses all of the world’s resources to build a tower.

Mon, Sept 28 7:00 pm

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Mature

SHORT FILM COMPETITION 7

Courts-métrages en compétition 7 A Girl Who’s Afraid Of Touching People | Liang Hsin Huang | UK & Taiwan | 04:52 | Student Animation You see a girl or you don’t. But at least you know she is afraid of touching people.

Consumerland | Bjarne Anmarkrud | Norway | 01:33 | Commissioned Animation The dark side of our unsustainable consumption consumerland.

Sogni al campo | Magda Guidi & Mara Cerri | France | 10:00 | Narrative Short Animation A boy looks for his cat along a river. He will not find it. He’s about to die, and has moved away from everything to find intimacy. The child arrives at the doors of time, where the dead disappear, and the living let them go.

cumcumcumcumcum everybody | Peter Millard | UK | 01:22 | Non-Narrative Short Animation If it feels good between everyone who’s involved, do it and have a good time.

Schast’e (Happiness) | Andrey Zhidkov | Russia | 05:00 | Narrative Short Animation In a cold, repulsive world of chaos, a man searches for his true happiness hoping that simple things can evolve into his bliss…

France ‘Patrouille de France/Dernier tour’ | Emmanuel Lantam | France | 04:15 | Commissioned Animation One last spin, my friend.

Anonymous | Steven Subotnick | USA | 05:14 | Non-Narrative Short Animation No one knew him.

Just a Guy | Shoko Hara | Germany | 15:00 | Narrative Short Animation Three women share glimpses of their affection, attraction and relationship with Richard Ramirez: A serial killer and rapist they contacted after he was convicted in the 80s.

Tues, Sept 29 7:00 pm

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Mature

SHORT FILM COMPETITION 8

Courts-métrages en compétition 8

Wed, Sept 30 7:00 pm

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Flamingo | Kawo Sushijojo | Taiwan & Macao | 08:07 | Non-Narrative Short Animation An acid dream about driving an uncontrollable vehicle for three and half years….or something like that.

4 North A | Howie Shia & Jordan Canning | Canada | 10:53 | Narrative Short Animation A woman sits in a hospital room, alone with her dying father. As the din of hospital noises pushes her to confront her inevitable loss, she escapes into a series of lush childhood memories.

FME 2019 ‘Trailer’ | Martine Frossard | Canada & France | 00:33 | Commissioned Animation Flowers, leopards and a boxer warm up for the Festival de musique émergente of Rouyn-Noranda.

Pracka (Washing Machine) | Alexandra Májová | Czech Republic | 05:02 | Narrative Short Animation Wash and love.

Median Life and/or Death | Petteri Cederberg | Finland | 05:24 | NonNarrative Short Animation Contemplating the uniqueness and the averageness of humanity.

Fruit | Ivan Li | Canada | 03:25 | Narrative Short Animation An in-depth technical analysis of fruit.

Camp Saint Helene ‘Protector’ | Benjamin Clement | USA | 03:40 | Commissioned Animation Some trippy, spooky retro 60s psychedelia for your sensory pleasures.

Kosmonaut (Cosmonaut) | Kaspar Jancis | Estonia | 11:38 | Narrative Short Animation A retired Cosmonaut continues to live life as though he were still in a space station. He still carries out heroic missions and misses his close relatives, who he left behind on his home planet. His family sees this all a bit differently.

Mercredi, 30 sept 19h00

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Mature

VR@OIAF RV@FAIO

Hangman at home | Michelle Kranot & Uri Kranot | France | 25:00

“What does the hangman think about when he goes home at night from work?” Inspired by the iconic Carl Sandburg poem (1922), this VR single-user immersive experience explores themes of acknowledgement and participation. It is not about hanging people, but about the awkward intimacy that comes with being human, and the connection between spectator, witness, and accomplice. The animated, interactive experience invites you into five interwoven stories, capturing pivotal moments in people’s lives. The Hangman at Home – VR ultimately reveals that we are all more alike than different, while raising questions of responsibility.

Canaria | Kazuki Yuhara | Japan | 04:18

An old canary, yearning for the sun, flies into space. Burned by the sun’s flames and revived, Canaria sang a song of regeneration.

Dislokacije (Dislocation) | Milivoj Popovic & Veljko Popovic | Croatia & France | 07:30

Dislocation-enforced departure of people from their homes, minds and everyday lives due to cataclysmic events. This film takes a look at an absurd moment of disbelief and fear. It examines the internal processes that develop and offers a visual depiction of a person forced into extreme circumstances.

The Book of Distance | Randall Okita | Canada | 25:00

In 1935, Yonezo Okita left his home in Hiroshima, Japan, and began a new life in Canada. Then war and state-sanctioned racism changed everything—he became the enemy. Three generations later, his grandson, artist Randall Okita, leads us on an interactive virtual pilgrimage through an emotional geography of immigration and family to recover what was lost.

The Orchid and the Bee | Frances Adair McKenzie | Canada | 05:00

Nature is wondrous and clever. As Darwin taught us, those who improvise most effectively prevail. There are species who under threat revert to earlier forms, others who cultivate parasitic relationships with neighbouring beings, while the most inventive ones transform their bodies to mimic and seduce unsuspecting companions.

On-Demand

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Sur Demande

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Mature

ANIMATED SERIES COMPETITION Compétition Série Animée

L’amour a ses réseaux - Petit Piment (Fail in love - Berlin) | Cécile Rousset & Romain Blanc-Tailleur | France | 04:00 At a time when more than 180 million people worldwide are using dating-apps, Fail in Love serves up some of the funniest, most unexpected and awkward online dating stories giving insight into the new ways of seduction that are profoundly remodelling our relation to sex, love and relationship. For better… or for worse.

Undone Episode 2 The Hospital | Hisko Hulsing | USA | 23:23 While recovering in the hospital from her car accident, Alma talks with her dead father, who has a confusing and compelling request.

Life After a Mass Shooting | Curtis Brown, Jon Reyes, Padraic Driscoll & Ignacio Osorio | USA | 02:07 Patience Carter talks about the grief, guilt and cyberbullying she experienced after surviving the Pulse nightclub shooting in 2016.

Les espionnes racontent ‘Yola’ (Women Undercover ‘Yola’) | Aurélie Pollet | France | 06:15 What if 007 were a woman? A journalist tells how she set off to meet six cold war spies and describes, with testimonials to confirm her story, what their lives were like during the time they served English, Russian, American, German or Israeli secret services. These six women unveil the determinant part they took in these missions, far from the “James bond girl” cliché.

Ballmastrz: 9009: Big Boy Body, Big Boy Heart! Can you Endure the Pain of Love? Babyball, Discover it Now!! | Christy Karacas | USA | 11:18 Babyball gets a special upgrade that comes with a surprising new attitude adjustment.

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Mature

ANIMATED SERIES COMPETITION

Compétition Série Animée

Big Mouth: Disclosure the Movie: The Musical! | Bob Suarez | USA | 27:27 In the school musical, the kids of Bridgeton Middle are performing an adaptation of the 1994 movie Disclosure starring Demi Moore as the female boss who falsely accuses Michael Douglas’s character of sexual harassment. The two leads, Nick and Missy, fall into a showmance as the play’s director, Mr. Lizer, is ironically (and rightfully) accused of harassing Lola behind the scenes.

Sur Demande

ANIMATION & GAME ART

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stories → that → ↗ ↑ ↖ ← ↙ ↓ ↗ move edfilms.net


ANIMATION MADE FOR YOUNG AUDIENCES COMPETITION ‘PRESCHOOL’

All Ages

Court métrages d’animation pour jeune public en competition ‘­Préscolaire’ ShalaBonBon | Yoko Yuki | Japan | 02:20 People, animals, flowers, streets, now and the past, all are equally flowing and Bonnnou(Kleshas) will never disappear.

Odeyalko (Blanket) | Marina Moshkova | Russia | 05:36 In the far far North lives a very very grumpy Polar Bear. One day he receives an unexpected visitor…

Os Pelúcias (The Fluffies) | Sergio Gambier Campos & Vivian Altman Eberhard | Brazil | 05:00 Pelúcio and Pelúcia, “live” pieces of plush that live in a world made of cloth, play a game. They transform into anything covered with plush: animals, plants, objects and even concepts as joy, fear or will.

Der kleine Vogel und die Bienen (The Little Bird and the Bees) | Lena von Döhren | Switzerland | 04:22 A mysterious humming that needs to be fathomed sends a little bird on a journey into a magical world of flowers. Of course, a fiery red fox is soon on the little bird’s heels.

Bease no mori no Rabby ‘Okataduke’ (Rabby of Beads Forest ‘Clean up’) | Masam Hashimoto | Japan | 05:00 Rabby gets scolded by mom to clean up messy rooms with toys. She tries to clear up, secretly using mom’s magic stick. However… A scary monster is unexpectedly born from the small toys.

Ollie | Anton Setola | Belgium, Ireland & Norway | 04:00 Right in the middle of a very busy city, there is a peaceful place. It’s a cosy park, closed off and forgotten, a true oasis. This is where you will find Ollie, the little blue owl and his friends - a small stork, a young frog and five little birds.

Der Pinguin auf meiner Schumesedecke (Patchwork Penguin) | Angela Steffen | Germany | 03:54 Patchwork Penguin has a problem: he wants to run fast, but he doesn’t know how!

Fuwa Fuwa Hour: PuiPui & MuuMuu ‘Fushigi na Tane’ (Fluffy Hour: PuiPui & MuuMuu ‘Mysterious Seed’) | Hiroyuki Mizoguchi | Japan | 05:00 PuiPui and MuuMuu living in a fluffy forest. One day they find a mysterious seed in the forest.

C is for Cars | Warren Brown & Adam Goddard | Canada | 01:00 Cars Can be Cool.

L’odyssée de Choum (Shooom’s Odyssey) | Julien Bisaro | France & Belgium | 25:45 Shooom, a baby owl, hatches just as a storm turns the bayou surrounding her tree upside down. No sooner has she fallen from her nest, then the little fledgling totters off into the mangrove, pushing a second egg from the brood along with her. Come hell or high water, she’s determined to find a mother…

Sat, Sept 26 11:00 am

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Sa medi, 26 sept 11h00

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6+

ANIMATION MADE FOR YOUNG AUDIENCES COMPETITION ‘AGES 6–12’

Court métrages d’animation pour jeune public en competition ‘Âgés de 6 à 12 ans’

Sun, Sept 27 11:00 AM

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Abstract Animals | Dana Sink & Ivica Širanović | USA & Macedonia | 01:18 We like all animals, especially abstract animals.

Matilda ir atsargine galva (Matilda and the Spare Head) | Ignas Meilknas | Lithuania | 13:09 A girl wants to be the smartest person in the world. When all the things she’s learned can no longer fit in one head, her mother buys her a backup one. Are two heads really better than one?

Pool | Islena Neira & Benoit Michelet | France | 04:40 A little girl arrives at a giant swimming pool filled with big characters. She decides to dive in and swim despite her fears.

Devochka-ptichka (The Girl-Bird) | Ekaterina Nevostrueva | Russia | 05:50 A summer day, birds are singing, the sun is shining brightly. The girl wants to go for a walk.

Kapaemahu | Hinaleimoana Wong-Kalu, Dean Hamer, Joe Wilson & Daniel Sousa | USA | 08:28 Kapaemahu reveals the healing power of four mysterious stones on Waikiki Beach— and the legendary transgender spirits within them.

Eve & Garak | Collective: 14 children | Belgium | 04:25 In a galaxy far away from Earth, Eve & Garak are chasing spaghetti thieves…

Glue Boy Saves the Day | Tony Dusko | USA | 02:02 An unlikely hero is determined to help others; with glue!

On est pas près d’être des super héros (And Yet We Are Not Superheroes) | Lia Bertels | Belgium, Portugal & France | 12:20 When you’re a child, there’s this fragile moment where the boundary between fantasy and reality is shattered.

Alastair Moock ‘Be A Pain’ | Wishbone Zoë | USA | 04:13 A joyful, musical rallying cry to young (and old) leaders in these turbulent times.

The Girl from the Other Side | Yutaro Kubo & Satomi Maiya | Japan | 09:33 When two creatures belonging to opposite kinds -a lost little girl from the Inside and a demonic beast-looking Outsider- initiate an impossible coexistence on the same side of the forest, their bond seems to transcend their incompatible natures and the unnamed curse that has divided the world.

Dimanche, 27 sept 11h00

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14+

CANADIAN STUDENT COMPETITION

Films d’étudiants canadien en compétition

45

Pandemia | Dani Sadun | Ryerson University | 04:45 A young university student struggles to cope with the terrible truth that was rapidly spreading around the world: the global pandemic.

Le Poète (The Poet) | Vincent HurtubiseMartin | UQAM | 01:35 Montreal, 1970, it’s a big moment for the poet Claude Gauvreau who will be on stage tonight, c’est la Nuit de la Poésie.

Yarlung | Kunsang Kyirong | Emily Carr University of Art+ Design | 05:24 Three children face challenges in their Tibetan village Tezu, located in Arunachal Pradesh, India. They find resolution in the Yarlung Tsangpo river.

The Lighthouse Man | Matthew Walton | Sheridan College | 04:48 A friendly giant struggles to adapt to the growth of the out-port community he calls home.

Across the Bridge | Alisha Steinberger & Goody Chao Wu | Emily Carr University of Art and Design | 05:06 Two siblings who have grown apart, bond again through an epic video game battle, bridging the gap in their relationship!

The Hotline | Christina Taratufolo | Seneca | 04:52 Trapped working a dead-end job, Erika fears there is no light at the end of the tunnel, until her environment puts her mental fragility to the test.

Moundform | Catherine Slilaty | Concordia University | 04:04 A body of unrest navigates saturation and disconnect.

Flee | Merick Cormier | Dawson College | 02:09 A mosquito explores the world that he is new to when he suddenly meets a gloomy frog.

Trilo-Bite | Joshua Ralph | Emily Carr University of Art + Design | 02:30 In taking pity upon a helpless trilobite, a dunkleosteus attempts to save the prehistoric arthropod from the predators of the End-Devonian.

Ouroboros | Madisyn Dell | Concordia University | 00:57 The film follows a bird through a land where a sleeping force is awakened.

Metamorphosis | Anna Rudichenko | Sheridan college | 06:47 Gregor is a soviet WW2 veteran and breadwinner for his elderly Father and young sister. In a loose adaptation of Franz Kafka’s Metamorphosis Gregor’s life is suddenly in turmoil after a tragic event pits his family against each other.

Prey | Nathan Chen, Aiken Chau, Ella Ye, Keni Xiao Xuan Ji, Ryan Maman, Anastasia Adela Putra, Alice Liu, Sabrina Shan, Saniya Baig, Danny Del Toro, Rujun Ma, Summer Oh & Monica Santos | Sheridan College | 06:02 A relentless hunter travels through the forest collecting antlers and discovers monstrous consequences for his actions.

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14+

CANADIAN STUDENT COMPETITION

Films d’étudiants canadien en compétition Catch of the Day | Gillian Xu & Perrin Lew | Sheridan College | 04:54 An uptight robot starts his daily routine of cutting and sorting fish. However, a pesky cat manages to sneak into his facility and steal a filet. Annoyed, the robot is determined to get it back.

The Curious Case of the Buzzing Box | Isaac Delaney | Sheridan College | 03:05 A little monkey gets more than he bargained for when he opens his mom’s buzzing box.

Breaker Point | Samantha Van Rootselaar | Seneca College | 05:06 Jamie’s always been a huge horror fan despite their young age. However, as they explore the depths of their house during a power outage, the horrors in their mind might prove to be a lot more than they’re ready to handle.

Pizza Panic! | Elizabeth Eaton, Danny Silva, Cassandra Parker, Mark Anthony Quiban, Yushan Li, Miguel Ventura, Cindy Alice Yu, Caroline Lorch, Michaela Groves, Kyle Bullock, Wan Yue Zhao & Nell Alexander | Sheridan College | 05:01 Pepper, a pizza delivery girl, crosses paths with a demon-summoning cult during a delivery.

Sea Major | Elisha Wang, Tu Hoang, Yun Bao, Eric Thompson, Sean McGarry, Minkyong Lee, Jacqueline Ly, Alex Polibin, Matthew Glanfield & Sammi Zhang | Sheridan College | 04:41 Meredith is a rambunctious islander who would rather go fishing than anything else. Especially rather than being stuck practicing piano indoors…

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WE’RE HIRING!


14+

CANADIAN PANORAMA

Films canadien en panorama

49

Borrachero | Gustavo Cerquera Benjumea | 07:55 After a robbery goes wrong, a woman flees to her hometown in southern Colombia. Along the way, she encounters a mysterious figure, which might be the embodied spirit of an ancient plant.

The Fake Calendar | Meky Ottawa | 01:31 A neon glimpse into a personal world within an urban landscape. Produced as part of the 12th edition of the NFB’s Hothouse apprenticeship.

Katalog of Flaws | Marv Newland | 11:45 A fever dream without social relevance.

Coldshot | Evin Collis | 11:58 The surreal journey of a weary passenger train and its travellers as it trudges north to the Hudson Bay revealing glimpses of the monotony, oddities and marvels of Canada’s gateway to the north.

Sommets du cinéma d’animation 2019 Trailer | Martine Frossard | 00:30 Festival trailer for the Sommets du cinéma d’animation of Montreal.

The SerVant ‘The Forest’ | Éric Falardeau | 05:11 Music video for the band The SerVant.

TAAFI x Industry | Noam Sussman & Ali Kellner | 00:30 A lot of characters doing a lot of dancing.

Fan (Fan) Fiction | Lynn Dana Wilton | 00:58 A short fan fiction mashup.

Odeurs sonores (Smell of Sound) | CarolAnn Belzil-Normand | 02:34 A mental representation of smell, or something like that.

WhateverTree | Isaac King | 11:11 Screen addiction. Species at risk. Whatever! A dead tree goes viral, attracting wildlife, a nature lover, and a crowd of online followers.

The Lonely Spruce | Dan Sokolowski | 01:00 A lonely spruce tree finds the joy of life.

Le mangeur d’orgues (The Organ Eater) | Diane Obomsawin | 01:19 An ogre loves sacred music.

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14+

CANADIAN PANORAMA

Films canadien en panorama Stache and the Inner Walk | Joanne Fisher | 03:30 Salvador Dali’s quirky moustache rises in the crypt and journeys into the world of its subconscious.

The Fourfold | Alisi Telengut | 07:14 Nature is the homeland of human being, Tengri is the deity and the father sky, Earth is the mother with rivers nourishing all beings, paganist and pantheist gods co-exist with all mortals.

Animation Week 80th Anniversary of the NFB | Alex Boya | 01:01 A brief little ode to the anniversary of Canada’s beloved National Film Board.

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Presented by Présenté par Telefilm Canada

THE INTERNATIONAL ANIMATION FILM FESTIVAL

FESTIVAL

14 TH -19TH JUNE 2021 MIFA

15 TH -18TH JUNE 2021

Picture taken from the short film Alison, CITIA & GOBELINS, l’école de l’image – Graphic design: fullstory.fr

On-Demand

Sporegasm | Kjell Boersma | 10:20 At the edge of known space, a rogue scientist and a sanitation officer clash over the discovery of an alien slime mold.

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Mature

WORLD PANORAMA

Films international en panorama Angry Dogs | Shaun Clark | UK | 04:30 When sleeping dogs awaken rationality quickly disappears.

Stunting Cunts | Gina Kamentsky | USA | 02:50 Go ahead and torture yourself, if that’s what you want.

Ma hingan lihtsalt rohkem (I Just Breathe More) | Bruno Quast & Viktoria Grahv | Estonia | 06:40 Based on the electroacoustic track by composer Viktoria Grahv that was inspired by the concept of breathing to break chains.

Kharchang (Crab) | Shiva Sadegh Asadi | Iran | 10:46 A shy, withdrawn boy has his heart on being in the school theater group, but the only role offered to him is that of a crab.

Anna, Koshki-Myshki (Anna, Cat-andMouse) | Varya Yakovleva | Russia | 05:26 A man is spying on Anna, he breaks into her house, destroys everything that surrounds Anna, trying to take possession of her.

Carne (Flesh) | Camila Kater | Brazil & Spain | 12:12 Rare, medium rare, medium, medium well and well done. Through intimate and personal stories, five women share their experiences in relation to the body, from childhood to old age.

Lursaguak. Escenas de vida (Lursaguak. Scenes From Life) | Izibene Oñederra | Spain | 11:52 As Hélène Cixous said, we live in a time when millions of voles of an unknown species are undermining the conceptual basis of an age-old culture.

The Surrogate | Stas Santimov | Ukraine | 06:03 A man destroys the nest of an unknown creepy creature. But it’s not the most horrible creature he will meet tonight.

Jack | Faiyaz Jafri | USA | 02:09 Jack is naked. Jack is pretending to play guitar. Jack looks silly and vulnerable?

We Have Everything | Francisca Villela | Germany & Chile | 04:56 A bag, a house and what happens inside: goodbyes and beginnings, secret messages, time, superstitions, promises, tastes and prototypes.

The Drill | Richard O’Connor | USA | 02:46 As active shooter drills become integrated into schools across the country, students must grapple with the threat of school shootings. This is the case for ten-yearold Dezmond Floyd, who has an open discussion with his mother Tanai about what happens in his fifth grade class during his school’s active shooter drills.

Black Snot & Golden Squares | Irina Rubina | Germany | 01:00 A little something for all the worried souls.

On-Demand

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WORLD STUDENT PANORAMA

Films d’étudiant international en panorama

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Mother Figure | Chia Tse Chang | Taiwan | 14:23 As childhood memories begin to flood back, recollections of Mother start to creep up on the protagonist as well.

Wild West Compressed | Christian Kaufmann | Germany | 02:39 Cowboys galloping through vast landscapes and gazing melancholy into the distance, this is the wild west!

The Most Woke Man in America | Jordan Wong & Mitra Jouhari | USA | 03:09 Based on a piece by Mitra Jouhari.

Izzy’s Demons | Gregory Garay | USA | 07:13 Izzy is a person who struggles with the decision to reconnect with an old friend. As she gives into her jealousy for her friend’s success, she makes a decision that her subconscious does not let her get away with so easily.

Needs | Júlia Lerch | Hungary | 05:19 In four episodes that are interconnected but distinct from each other, the question was what would happen if our needs were changed, shifted in time, able to adjust to our agenda, or if we could influence them.

Sasa si Petre (Sasa and Petre) | Luca Istodor | Romania & US | 10:24 1957, communist Romania. Sasa talks about his 45 year long relationship with Petre, in a time when homosexuality was criminalized.

Afternoon Tea | Andrea Szelesová | Czech Republic | 02:12 A noble man awaiting to meet his beautiful betrothed lady receives quite a shock upon her arrival. Her pompous dress seems a little too big to fit into the room. Despite the obvious problem, she is intent to not lose face.

Millenium (Millennium) | Daria Godyn | Poland | 08:17 It’s New Year’s Eve 1999 - “The end of the world” is approaching.

White Horse | Yujie Xu | UK | 07:00 Curiosity brings fleeting interest, but the collision and divergence caused by the individual difference ultimately make each other go separate ways.

Cartoons and Tunes | Ray Ryan | USA | 00:41 A boy in high school deals with embarrassment, class, daydreaming, and making a friend.

L’homme qui est foudroyé (The Thundered Man) | Valentine Vendroux | France | 03:58 Papillon is a man, happy in his unusual job: he is a table man. He offers his services in weddings, banquets and every other kind of reception. One day, Papillon is struck by love at first sight.

Cage Match | Bryan Lee | USA | 09:12 A businessman walks into the elevator for another day at work…

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SPECIAL SCREENINGS Programmes Spéciaux

An Almost Incredible Story: Celebrating Elbert Tuganov

Elbert Tuganov is a historic figure in Estonian animation. In 1957, he produced the first Estonian puppet film Little Peter’s Dream. By his retirement in 1982, he had made 38 internationally acclaimed puppet films including a unique stereoscopic puppet film, Souvenir (1977). He laid the foundation for the now 63-year-old Nukufilm Studio in Estonia. As a missionary of animation, he wrote animation books and conducted workshops. Tuganov was the first in Estonia to replace the soviet term multiplication [multus Latin for many] with animation [anima Latin for soul]. In the 1980s, Tuganov gave way to a new generation of animation directors like Rein Raamat, Priit Pärn, Riho Unt, and others. He was not religious, but it was important for him that films were not simply multiplications, but treated as an art of giving something a soul. In 1946, after the end of WWII and his demobilization from the Red Army, Tuganov began making credits for the Tallinn Studio (later Tallinnfilm). The ten years he worked on making credits and special effects for films helped him understand filmmaking. Tuganov entered an Estonian film world that already had a certain air of professionality and experience. Unusually, the Estonian animation scene skipped the single enthusiast phase, where people tinkered in their bathrooms and showed the results to their friends. In 1957, Tuganov established an animation studio in the middle of a high culture paradise, if you could call the Soviet Union that. Cinema was a praised and privileged art form in the USSR. In essence, Tuganov was an architect, not a poet. In his youth living in Germany, he wanted to become an architect. His films do not express what we expect from poetry. And when Tuganov created poetry, it was more architectural: measured, constructed, and in proportion. It works, shelters you from the rain, but sometimes the door you want to open remains closed. In Estonian puppet films, Tuganov built a church, and Heino Pars (1925-2014), the second pillar of Estonian animation, became the priest in that church of puppet films. Pars established a creative atmosphere through spontaneous situations. Inspired by great theater directors like Konstantin Stanislavski, he approached animation through drama. The 31 puppet films he created are largely based on natural mysteries. But Tuganov brought out rationally devised schematics and said, “This is what we’ll do.” Tuganov’s contemporaries say that he considered filmmakers as builders. There was no creative process, no spontaneity nor inspirational flashes. What was written happened.

From Hitler’s Germany to Stalin’s USSR German culture influenced Tuganov throughout his life. Think of the era: he was in Berlin in the 1930s. The will triumphed, the body was worshipped and the world was shaped through willpower. He was a rationalist, a thinker, and saw objects that could be moved by will. The German period is a completely separate time in terms of Tuganov’s personality and skills. He grew up in Berlin with his aunt, who was a body double at the UFA studio. A teacher discovered his talent and nurtured his interest in cinema. He became a colorist in various studios that made commercials with puppets or drawn animation. In Germany, he went to scout camps with the children of emigrated Russian aristocrats, who idealized an enlightened monarchy. Tuganov was an aristocrat in spirit, but also by birth—his father was an Ossetian prince. Aristocrats were “chosen” by God. They had social privilege and duties. Necessary tools to carry out the noble ideals of humanity. That determined his way of thinking. Here lies a paradox: while filmmaking is collective by nature, the high culture that Tuganov strived for cannot be created collectively. Due to this, he was called a dictator. Mildly put he was someone with a vision and a will to bring it to life. Yet he was not a creative egoist who only thought of himself, but an empathic creator. This is evident when Pars steps into the arena. Tuganov could have made films alone for 30 years. For Tuganov, the role of the aristocrat was inherent and did not need addressing. It manifested through action. Even on a simple household level. For example, he did not want his wife to work. He never spoke badly about people. He tried not to lower himself and had an inner scale that he used to assess moments and people.

Mait Laas & Hendrik Alla | 65:00

The credo of the visionary He was a visionary until the end. In addition to Estonia, he helped establish studios all over the former Soviet Union. He held workshops for children and published books on what it means to bring puppets to life or make pictures move. Tuganov was not just a filmmaker making a living. He fully honored the spiritual side of filmmaking. For him, the main issue was man and society, perhaps even man and machine. At times he is moralizing. His films are uncompromising; they are a tool for speaking, as an enlightened man would speak to the blind. Tuganov also broadened the selection of topics in the strictly censored Soviet cinema. He was an “ice breaker” and could touch jarring subjects. He was very steadfast, consistent and even stubborn. When he saw something wrong or inappropriate in society, he did not hold back but intervened immediately. He took the position of a social activist. Let’s be honest, some of his films were made simply for the sake of working. You cannot ride the Pegasus consistently for almost 30 years. There are days when you hit a creative wall. Still, even these films show a high level of professionalism. Of course, his puppet films are signs of an era. Take Ott in Space (1961), Park (1966), or Drivers (1972), for example, obviously he was thinking about the role of an artist in society. The artist doesn’t only explore the depths of a human soul but is also the conscience of society.

KGB pressure In his memoirs (A Walk Through the Century, 1998), Tuganov admits to being a KGB collaborator. We have to look at the context. What makes a person compromise? Why were cultural heroes in the USSR forced into KGB? The relationship between the free spirit and the controlling power of the state was particularly sharp then. Making art required painful compromises. It was a sore topic for Tuganov. A mark he could never escape. We are currently in a different world. I think we can ask this question when we ourselves are forced by Stalin’s Red Army into an office where, like Tuganov, we are offered a “white paper” to sign while being threatened by a KGB officer. If we can put ourselves there and know for sure how we will behave, then we can judge. Here and now we don’t have that right. His extant KGB papers deem him a completely useless agent. I don’t know how much anyone suffered due to his involvement or how much vitality Tuganov himself lost to this organization. Is there a comparable situation today where we are forced to bargain with our conscience?

Tuganov’s creation today During the Soviet era, a completely new language was developed to convey and understand symbols. It was reading between the lines, ignoring controlling state censorship, and understanding what is invisible to the eye. This skill is beginning to disappear. Tuganov, Pars, Raamat, and Pärn are the custodians of this language of allegories and hidden messages. We should teach this language as the masters are disappearing. They have already disappeared. If everything is said outright and you read 19th-century poets or watch historical films, you miss half of it. The message of art remains incomprehensible. The world gets narrower. For the modern viewer, watching Tuganov’s films is a call to change established attitudes. Among his 38 films are films that were shelved because of their intrinsic nature, such as An Almost Incredible Story (1962) and That’s it! (1963). Tuganov seemed to be critical of capitalism, but his films primarily affected the conscience of the builders of the local socialist system. Human values simply do not tolerate stupidity, regardless of social order and ideology. Atom-Boy and Atom-Boy and the Thugs (1970) are worth re-watching because they can provide an impetus for understanding our seemingly chaotic world of today. The question of how Tuganov’s films have stood the test of time should be addressed to the next generation. The genre that he created is a hallmark of high culture, and as Estonians we desperately need it. It makes us a part of something bigger. He brought international attention to Estonian culture. Tuganov upholds our self-awareness. We are not just service providers who realize what others have come up with. Our role is to contribute to something significant. We can create films that speak to the world. Edited by Heinrich Sepp, translated from Estonian by Helo Irik

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All Ages

SPECIAL SCREENINGS

Programmes Spéciaux

ELBERT TUGANOV SCREENINGS

On-Demand

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Põhjakonn (Toad from the North) | 1959 | 20 min

Peaaegu uskumatu lugu (An Almost Unbelievable Story) | 1962 | 9:00

Aatomik ja Jõmmid (Atom Boy and Stouts) | 1970| 10 min

Verine John (Bloody John) | 1974 | 15:00

Hiirejaht (Mousehunt) | 1965 | 10:00

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Programmes Spéciaux

Unseen Forces:

Keltie Duncan

A Spotlight on Emily Pelstring Let’s start with ‘science’. Science, I’m sure you would agree, has conquered many of the more simple mysteries of our world; mysteries like gravity and light waves and how sound works. Using instruments— many of them analog, no less - to locate and quantify the invisible waves and frequencies that float around and through everything, humans have given form to these unseen forces and harnessed their power to create things like the projected image (yay!), a specific frequency that scares away teenagers (yay? yay.), and the Philips Hue lighting system which can turn a chores day into a smooth night at the jazz club (hallelujah!). What, though, about the invisible mysteries that remain unsolved and unquantified; those in the realm of the paranormal, for example? Those of ghosts and magic and the effect centuries of existing in a heteronormative patriarchy has on social evolution? What if a fresh mind came in and began using analog instrumentation to quantify those sorts of mysteries? What if said fresh mind didn’t stop there, but tackled even those mysteries that are generally thought to be solved, like light waves and how sound works and… well probably not gravity because I’m pretty sure that one’s been done to death? Who better to examine these paranormal mysteries than someone who’s a little bit imagineer, a little bit tinkerer, a little bit artist, a little bit academic and a lot bit magician; and by “magician” I mean both the fairy tale kind who have powers and tall hats, and the real kind who are masters of illusion, distraction and suspendable glass boxes á la David Blaine’s 44 magical days above London. #neverforget Emily Pelstring, if you haven’t already guessed, is all of these things, yes even a master of glass boxes! By day, Emily is a BFA graduate in Animation from the Rhode Island School of Design (RISD), holds her MFA care of Concordia University in Montreal, and is currently a faculty member in the Department of Film and Media at Queens University (Kingston, Ontario, Canada). By night, she is a subversive punk whose mystical, fun and powerful work has enjoyed international success showing in both gallery and festival settings of all shapes and sizes. Pelstring, as much a sound artist and performer as a visual artist and filmmaker, uses her super powers for good; critiquing the world in which she lives indirectly by way of celebrating what makes it strong rather than by explicitly exposing what makes it weak. Her interests and creative output make her as true a multi-disciplinary artist as ever I’ve seen, so like the analog experiments that have come before—wait for it—let’s take a prism to this beam of light so we may examine all of her brilliant colours on their own. BOOM.

Emily Pelstring, Master Of Glow (i.e. The Films) Animation is already something of an unquantifiable force. If you can separate the visual art in animation from its performance elements, its cinematic principles or even its visual effects then you’ll have placed animation studies on the endangered departments list. Recognizing and capitalizing on these many facets of animation, Emily has incorporated the animated image in her practice for many years, ranging from recent fully-animated, good ol’ fashioned short films to components in her installation work and animated elements in live action shorts and music videos. Naturally the best person to describe her work is the artist herself, but if I may: I asked Emily to name a few common threads she sees running through her work. She describes one such thread as “a kind of cataloguing of images that appear out of dreams, arise from the subconscious”. To me, the dream-like quality Emily describes is reminiscent of the colour palettes and general spookiness of Susperia (1977). Her images feel like they hold a physical space, that if I walked up to the image I could touch it and feel a static charge like when touching an old CRT TV. Her aesthetic is ephemeral, as if she, our intrepid magician-scientist, has harnessed actual light waves and forced them into as physical a form as they can possibly take, giving her films and animated imagery an inner glow. They have a dark, cool colour palette alive with an analog tactility, full of visual tracers that betray the wavelengths of colour which make up the image itself and provides an intriguing peek behind the curtain, so to speak. Besides current thoughts, I also asked Pelstring to cite a few animated childhood memories that might still influence her work. She listed Maleficent’s transformation scene from Sleeping Beauty, the bioluminescence of the plant life in FernGully: The Last Rainforest, and being just generally haunted by The Last Unicorn. I dare say I couldn’t imagine a more fitting trio of references if I tried, (I tried). Pelstring goes on to sum up her own aesthetic in five words—“molten, nostalgic, figurative, hieroglyphic, prismatic”—which perfectly accounts for that unmistakable Emily Pelstring ‘je ne sais quoi’.

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Pelstring’s visual language has one foot in the realm of the familiar and one foot gleefully in a world of levitation, alternate histories and spells, which gives Pelstring’s cinematic space an almost infinite and inexplicable depth. I can imagine her animated shorts being broadcast over the airwaves in Frankenstone, the fictional land home to the exiled characters of The Hilarious House of Frightenstein, (and if you do not know of which I speak, do thyself a favor and Google it). Experimental in nature but with more than enough substance to grip, Pelstring’s short films are spin art masterpieces combining old technology and techniques with contemporary iconography and themes. Head Cleaner (2015), for example, celebrates the technological tools of yore, imagining the filthy innards of a VCR, treating it like a wondrous hidden universe begging to be explored. Though not all of Pelstring’s short films reference technology so explicitly, they all share a familiar stylistic nod, bringing us to another self-declared creative thread: “experimentation with optical filtering and textural effects”. Her films have a wonderfully contradictory crispyet-lo-fi quality that betray her history of working with old video equipment. The images are compressed in a way that is reminiscent of a guitar signal making its way through a series of pedals to come out the other side full of grit and texture. Pelstring’s work relies on a principle that says frequencies are ‘real’ even if you can’t see them, including those frequencies and wavelengths that have yet to be proven like ghostly dimensions and mystical powers. Pelstring’s sound work, often the soundtrack to her animation but not always, shares the same analog chewiness that her imagery does. In the most appealing way possible, her music has a tangible warp and weft to it, almost like it has an electromagnetic charge. It holds the quality of optical sound with a heap more dimension to it. Again, like her visual aesthetic, Emily’s sound work takes the best of old, analog technology and really puts it on a pedestal.

Emily Pelstring, Spacial Magician (i.e. The Installations) Animation as an art form really shines in Pelstring’s installation work. Animated elements become the link between a constructed physical environment and the imaginary veil being draped around it. In many of her installations, which can all be seen on her website and are extremely well-documented, Emily combines glass structures, projections and reflections to create the illusion of floating objects, like a hologram. Pelstring cracks the barriers between our living existence and imaginary, or perhaps just unproven, hidden dimensions; not only blurring the line between physical reality and other realms, but posing the question whether or not the line exists at all. Even when the image isn’t animated, she applies a kind of graphic veneer to live people and objects, such as a life-sized line drawing of a car attached to a real car, or face paint on an actor to resemble a comic or a sketch, like in ‘I Babysat for Those Fools’, an installation created with Inflatable Deities, a collective established with her creative partner, Jessica Mensch. (It should be noted here that Pelstring is also in a musical collaboration with Mensch and their bandmate, Katherine Kline, called The Powers. Shout out to The Powers.) For The Haunted Blob, an installation staged at Montreal’s historic Rialto Theatre, Pelstring created the illusion of huge gashes in the walls, revealing a secret dimension teeming with swimming, floating, life-sized ghosts. Like the Wizard of Oz, Pelstring augments reality the old fashioned way, using tricks of the eye or ‘in camera effects’ like projection and masks to bend the experience of her surroundings. These elements create a sense of childlike wonder, like some of the best animated films do, and speaks to Emily’s third self-proclaimed creative thread: her sense of humour. Looking ahead to her next project, Pelstring is planning to free herself from the shackles of storyboarding in favour of a more liberated workflow. She says she’s done both highly planned projects and more stream-of-consciousness shoots and wants to focus on the latter while experimenting with some multi-plane effects and techniques, expanding on her exploration of reflection and surface. Now to sum up, if I may heavy-handedly return to ‘science’—*ahem*—my own conclusions find Emily’s work consistently combines somber whimsy and powerful mysticism with an eerie semi-translucence to create a phenomenon I would like to call Saturated Haunting Bioluminescence (SHB), or, The Pelstring Effect. Prepare to be tickled, intrigued, entranced, provoked, impressed and, of course, improved. Maximum exposure encouraged. All of the above hypotheses can be considered at emilypelstring.com.

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SPECIAL SCREENINGS

Programmes Spéciaux

UNSEEN FORCES: A SPOTLIGHT ON EMILY PELSTRING

On-Demand

@animationfestival

Head Cleaner | 2015 | 7:00

Witch’s Work | 2018 | 6:54

Medusa’s Body | Emily Pelstring, Be Heintzman Hope, Jessica Mensch & Katherine Kline | 2019 | 13:52

Somnium Lapidum | 2017 | 3:19

Insect Express | 2015 | 3:25

Oh No | 2016 | 2:50

Navy & Cream | 2015 | 4:18

Aurorotone | 2012 | 3:55

Skeleton Dance | 2010 | 2:11

Hoshi Neko | Emily Pelstring & Ruby Kato Attwood | 2012 | 4:39

Wild Love | 2010 | 1:43

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Raw Power:

Chris Robinson

The Films of Terril Calder

In the realm of independent animation, Métis artist and animator, Terril Calder, medium in Stop Motion. My first film (Canned Meat) went to Rotterdam and has been an influential force since making her first stop motion films. Her films I learned so much very quickly about the power of the medium and all of the have played around the world, winning awards at Sundance and Berlin. The possibilities. Films get into the dialogue of people often becoming our frame Toronto based artists’s work, which has focused almost exclusively on indige- of reference for knowledge and unlike the art I was doing I didn’t have shipnous themes, has also inspired other First Nations animators including Amanda ping issues… just a link to get it into the world. It’s like it has a life of its own. It Strong and Michelle Latimer. makes friends and it comes back to you. I was hooked.” Calder’s films are raw, unstable and haunting, tackling a number of perAfter her second film, Choke, was recognized at the Sundance Festival, sonal and difficult issues like identity (Choke, 2010, co-created with Latimer; Calder was approached by Dreamworks. She knew this wouldn’t be a good fit. Canned Meat, 2009; Vessel, 2013), memory, isolation, and the unspeakable “I really began to understand the value of being able to tell my stories my way horrors of residential schools (Snip, 2016; Keewaydah, 2017). and I wouldn’t change that for anything now. It’s okay not to fit in because if A Drawing major graduate of the Fine Arts program at the University of forced me to create spaces where we do. I was determined that if I wasn’t able Manitoba, Calder came to animation through Winnipeg’s Video Pool Media to get on the first rung of that corporate ladder that I would build my own and Arts Centre. “Animation,” says Calder, “held and holds so many possibilities to somehow get in closer to the top. Knowing a life with loss makes you brave as tell my stories and bring a different perspective to screen to make change. It though you’ve nothing to lose.” really is the sum of all of my parts. Activism, Storytelling, Art, Painting, Sewing, Inspired in part by Calder (and the influential Indigenous animation series, Photography, Compositing… it completely challenges me in every way.” Wapos Bay), there has been a slow, steady rise of animated films created by After moving to Toronto, Calder learned 3D computer animation. “I thought indigenous artists during the last 10 years or so. There are a variety of reasons becoming a CG animator would be a good career choice as a struggling behind this rise, some of which overlap with the general rise in animation performance artist.” Calder found it difficult to find work in the animation inproduction. Advancements in technology have made animation a more accesdustry. “Even though I was at the top of my class the industry at that time was sible and affordable process for many. “We grew up in communities that foster pretty sexist. An older native woman didn’t really fit into the hip work culture creativity and beading one bead at a time is a little like putting together an that they were trying to cultivate.” animation,” adds Calder. “Animation is accessible. A free app and a few sheets In defiance Calder fused together performance art, storytelling and of paper is all you need to get started. I’m excited to see how animation animation. Her experience with 3D animation convinced her that she needed evolves for the creative young bucks coming up who all have amazing stories to work in a manner that was more intimate and physical. “I needed to get to tell. Stories that need to be in the world.” my hands dirty,” Calder adds. My passion is exploring the physicality of the

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SPECIAL SCREENINGS

Programmes Spéciaux

RAW POWER: THE FILMS OF TERRIL CALDER

On-Demand

@animationfestival

Canned Meat | 2004 | 28:00

Choke | Michelle Latimer | 2010 | 5:35

The Gift | 2011 | 2:00

Vessel | 2013 | 1:00

Repercussions | 2013 | 3:45

Transformation | 2014 | 4:51

Snip | 2016 | 15:00

Keewaydah | 2017 | 9:34

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Programmes Spéciaux

Threads:

Matthew Corluka

The Story of Mikrofilm Animation Any good storyteller can give you a sequence of events, minor or major, that start with a beginning and end with an ending—the great ones will stir something in you that lasts long after the story ends. Mikrofilm is a group of great storytellers. Founded over twenty-four years ago in Oslo, Norway, their hand drawn work will grab you from the onset, take you on an emotional expedition and leave you with a greater insight into a character or viewpoint you may have been missing. There is an honest and a genuine nature to each of their stories; they are lean and playful and the amount of work put into each frame is deceptive and rewards multiple viewings. It’s no surprise that they’ve been awarded for their efforts; with an incredible amount of awards that includes two Oscar nominations and one win in 2007 for The Danish Poet. As they work on their first feature film (Titina), co-founder and producer Lise Fearnly, producer Tonje Skar Reiersen, and director Torill Kove took the time to sit down with us and tell us the story of Mikrofilm. When, and how, was Mikrofilm formed? Lise: “So Kajsa (Næss), myself, and another partner started the company in 1996 after we made a short film together. At the time there weren’t many studios in Oslo at all. There were single animators in attics and basements (Laughter). We worked a little bit for a company called Studio Monica and we learned a lot there, but we figured if we wanted to make films we had to start a company. We were young- we didn’t think much of it. At the time, they didn’t sit down and designate roles among each other- each person worked on multiple aspects of each project. Lise: It wasn’t until we started the company that we realized we had to have both. Torill: I really remember that period well, when you first started. It seemed to me that it was so gutsy. Considering how you started, not exactly on a whim, but it just seemed really like a solution so you could make your own films. Here you are 25 years later, still going strong. It’s really impressive. Lise: We always had this feeling that we pretended we started the company. We pretended

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that now “I’m the managing director, and you’re the creative director.” It was this, naïve 90s mindset, I suppose. Did pretending help remove the stress of the situation? Lise: Yeah. Tonje: I think in the nineties, I think this goes for the western world, we had that naivete. That idea was “You shouldn’t care so much.” It was supposed to be very effortless, and carefree. I think throughout the cultural field, that was sort of the blanket. Canadians as a culture have this sort of tall poppy syndrome- where one shouldn’t rise so far ahead above the others. Is that similar in Norway? Torill: I like that comparison. Tonje: Now you’re sort of allowed to be ambitious. At the time, you weren’t. Does that freedom to be ambitious come when an industry has grown? Or do you think that’s just part of today? Tonje: I think it’s larger, on a societal level- everything is just more competitive. Now one’s rewarded for working hard and excelling whereas before, one was just happened to be brilliant (Laughs). Torill: When it comes to Mikrofilm, do you think that evolution comes from just “playing a studio” and not taking yourself so seriously because at the time you were young? Once you become established adults with mortgages and kids, “doing this for fun” mindset isn’t really sustainable in the long run. Lise: It’s not sustainable- I mean, one can’t do it unless they enjoy it. It’s necessary that we do it becauseTorill: Because it’s fun. Lise: Yeah. Tonje: We’ve been working on our feature film, and our line producer is one of the guys who started Cartoon Saloon. When he described how Cartoon Saloon started it was also very similar: they were just friends from school. Someone happened to have more of a director’s mindset, one thought more like a producer, but they were friends who wanted to create something.

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They’re a bigger studio now, but it’s interesting to see younger studios coming up because they have a different mindset. They start out with a business plan. Lise: But remember when they started, when they were interns, they were working at a professional studio. We couldn’t look at other studios and see how they’re doing, but we had to build that. In our world, we didn’t know anybody that had their own professional company. We had no idea, basically. Tonje: With the Norwegian industry as a whole, Mikrofilm has grown alongside it- starting from nothing. There wasn’t really anything before ourselves and maybe Qvisten was established one year before Mikrofilm, also in someone’s attic. Now they’re a huge studio. There was experimentation in the beginning; Mikrofilm did a lot of stop-motion, and mixed techniques. As they and the animation industry grew, they adapted and grew more efficient. Lise: We used to have to ship paper from Norway to Canada. Torill: Oh, man. That was something else. This was on The Danish Poet. I was living in Montreal at the time, and most of the actual animation production, at least at the beginning, was done at Mikrofilm in Norway. We just did it on paper- we didn’t really have any proper testing equipmentLise: Remember what we had? We had an Amiga Torill: Yeah. Yeah, yeah. Lise: And we made the line tests there, and we looked at them, and then took a VHS cassette and recorded from the Amiga and then sent the tape over to Canada. Torill: And we kind of gave that up because the quality was so bad, so it wasn’t really that helpful at all. Meanwhile weeks passed between the animator thinking the scene was more or less finished up until I could see it. It was just so cumbersome. And then when the final drawings were done they were shipped over to Canada in these giant boxes until someone would scan them. It was really messy.

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That’s unbelievable. How long was that process? Torill: It was really long. (Laughter) It was a long time, but it was a fun time.

seems like there’s somebody having a baby, or they’re just about to have a baby, or someone has their baby at daycare for the first time. It sounds really old-fashioned, but it’s such a family-oriented environment and it’s just healthy. First of all it means that everybody has to earn money, but it also means that the culture and environment just expects you to be done at five o’clock, that you can go and have dinner at home. That you’re not expected to work on the weekends. It’s just so hugely important. Tonje: We have a lot of female employees, but it also rubs off on the men here too. Torill: The men are having babies, too! Tonje: I think you’re right, Torill, that it’s family-oriented.

Obviously, the leadership and talent behind the scenes has been a huge factor in Mikrofilm’s success. Have there been other factors that helped in Mikrofilm’s success? Tonje: An important factor in MIkrofilm’s success has been its focus on the director and the artistic side of projects since Day 1. A lot of strong directors are attached to the company, and they’re also very different. The stories come from a personal artistic origin, but with strong involvement from artistic producers. We have high standards; we’re always asking “How can it be better? How can it be more ambitious?” And pushing that for each director, and for each project. It wasn’t always that way—in the beginning, Torill: No, that’s for sure. Mikrofilm describes how they had a mattress in Tonje: Another factor that has been quite their office. People would work late, and then just important, I think Norway developed quite a few stay the night. directors in animation, which is rare. In other counLise: We had to make a decision and be like tries they wouldn’t have as many. “This is not okay. People have to live at home, but Torill: That’s true. work here.” We have very long hours sometimes, Tonje: The funding system in Norway is differbut people sleep at home. ent. In Canada the NFB is very strong, and they can Torill: If you know your day of work is limited put real money into short films. A lot of countries to a certain amount of hours, then you’re more don’t have support streams for short films. In efficient. This idea that it’s honorable somehow to Norway we have something similar in that we can say that you worked all weekend and didn’t leave get funding from our own film institute for short the office until night- if you did that at MIkrofilm, films. And that means that one can be ambitious people would say “This is crazy. Go home. Have a on short films. We started doing features, but for life.” (Laughter) twenty years Mikrofilm survived on short films and Tonje: It happens sometimes here when we commercial work. In a lot of countries that’s absohave deadlines, but it’s uncomfortable. Like you lutely impossible. It just means that we can push want to take care of your creatives and directors the quality of the short film; we can put those extra and be like “Have you eaten?” Sometimes it’s unmonths in in order to lift it, and to help develop avoidable but we plan for that to be the exception directors. rather than the rule. Torill: If I can say from the POV of a director, It is so rare for a company to allow their employMikrofilm is the kind of studio where you can come ees to have that life, and from a team standpoint, in and make your whole film there. You’ll have realone would buy in so much more if that was the ly involved producers who have agreed to produce environment. your film because they like the material or they Tonje: It has a lot to do with the Scandinavian have a history of working with you. For me, I feel way. The daycares close at 4:30, and the whole incredibly fortunate to be able to make films with economy is dependent on both mom and dad Mikrofilm. It’s a really unique, creative institution. working, so the whole of society is structured It’s also such a unique culture, I mean it always

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that way. I think it’s good on a personal level and a creative level. And it also makes people last longerthey don’t burn out and leave the company after a few years. After working on short films and commercials for so many years, was there a perfect storm that brought you to this moment of working on a feature? I guess “Why now?” Tonje: It has taken years to develop, and we’re going into production. I think before I joined in 2011, Lise was the only producer. And there were some CEOs that came and went, but when I came, it was the first time that there were two producers. And she has other responsibilities on top of being a producer. Lise: But it also has to do with who you are, Tonje. Tonje: Maybe a little bit. But we sort of just had our head above water to even think about longer projects. We sort of had the opportunity to plan many years ahead. Lise: We had to do it alongside other projects. We started developing something that will take a long time, one won’t make money for a long time, so we have to do it alongside the other things. Tonje: Since starting development and going into production on the feature, we’ve produced ten short films, and I don’t know how many commercials. Lise: We just finished animating on a different feature, as well. Tonje: Yeah! The first time we co-produced a feature from another country where we handled a lot of the animation. I also think that for Kajsa Næss as a director it took years to be ready for it. It’s a huge, very ambitious project for a Nordic film. It’s very complex. Kajsa had to feel that she was prepared. Lise: When you think about why we started features so late- we weren’t exactly encouraged by our film institute. They were a little bit skeptical. Wow. Lise: We had to sort of convince them and gain the trust from them. That is- maybe that’s because we were women, because there are loads of men

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who make their first features without having to prove beforehand that they can do it. They just do it. Many first-time male directors get that first chance. Tonje: But also this was a very big project from the start. Lise: Could you imagine us not doing an ambitious project? (laughter) Tonje: But now the tide has shifted. There’s been a lot of encouragement from the film institute. They’ve been amazing, and very helpful, but it took maybe five years for that shift. Lise: They never had any doubts about the director- it was more like “Is the company strong enough?” “Can you do it?” It was us, and the fact that we don’t have a big bank account (laughter). If you look at the production companies in Norway, and include the feature films as well, the majority of them have investors in them. Bigger companies that own part of them. We don’t have that. Tonje: We’re totally independent. Has that independence been the goal, throughout all this time? Lise: I don’t think we ever asked ourselves if we wanted to sell shares. Tonje: I think it would be very hard for us to join a different, bigger company that would tell us what films we should make, what directors we should work with. It goes against the DNA of MIkrofilm. It would change the legacy that all the directors Lisa, Kajsa, and Torill built up over 25 years. Lise: It would have to be a really nice investor. Tonje: Yeah, if it was one, private, rich person who loved quirky animation (laughter) but didn’t want to be a decision maker, then of course we wouldn’t want to say no. Torill: Yeah, just “Take my money. No strings attached.” Tonje: That would be nice. The culture at this company is so strong, and so is the library of work- can you describe the impact Torill had on working with the studio? Tonje: Torill is our star. Torill: We have many stars. Tonje: None as bright as you! Whenever Torrill comes to Norway, it’s always an event. It’s super important for the company, in how we look at ourselves, in how others look at us. To get that recognition and the wins and nominations. Even this retrospective- that wouldn’t happen if Torrill wasn’t one of our directors. We travel a lot, mostly through Europe, and many people know Mikrofilm because of Kajsa, because of Kristian’s work, but of course of Torill. Everyone’s response is “Mikrofilm? Oh, I love The Danish Poet!”

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Lise: I mean, the productions we’ve done with Torill have been important for the crews here as well. They get to work with a great director, they get this fantastic work experience. It’s a big deal. Torill: It’s a big deal for me. And, not to undermine or underplay whatever contributions I’ve made, there are so many directors at Mikrofilm that are wonderful in their own right. Kristian Pedersen’s films are also increasingly making a mark on the festival circuit. I think his films are being increasingly noticed, and Kajsa’s films of course. I think Deconstruction Workers is a cult classic at this point. I am guessing that the Ottawa International Film Festival would have come around anyway (Laughter). Chris came to visit Mikrofilm. Lise: Yeah. Torill: He told me he was so impressed. Tonje: And then Kristian visited the Ottawa festival. Lise: That’s the great thing about having local festivals. We get to bring people here! Torill: I think from my point of view there’s been a nice synergistic energy going on for a while now. Lise: One other thing that was great about working with Torrill was the fact that we were able to make co-productions. We weren’t able to do that before. Torill: Yeah. Tonje: I think that was a big factor in allowing us to make the leap to feature films. That we had done successful co-productions before, and the budgets on Torill’s films are big for short films. We had that track record for three films already that were co-produced with the film board. That helps with development, especially when one goes abroad for development. To have that track record of co-productions. Torill: That’s a really cool thing for me, the co-productions. The best of both worlds. Lise: It’s very important for Norwegian animation, to be able to say that. You have spoken about obstacles you’ve faced over the years: getting funding, getting your first co-production as being a first step to bigger project. Was getting over the obstacles simply a matter of time? Lise: The obstacles make you better. When you meet a closed door, you go back and make your project better, and then you go back and the door is now open. Step by step, that’s how we’ve overcome those obstacles. Tonje: “You’re not big enough. You’re not experienced enough.” Those are triggers to make one step up. I think it’s important that with everything

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happening at the company, we are still doing shorts. We just started preproduction on another short film last week. We’re still developing new shorts with established and new directors. One of the good things that comes out of the feature is that we’ve developed new talent that have contributed to this bigger project as designers, or storyboard artists, that we can nourish as new talent. It’s also nice to work on projects that don’t take ten years from beginning to end. Lise: Those long projects are great but, at least for me, I really need something in between that can be finished sooner. They allow you to work on the big projects that take many years. Tonje: For us it takes a lot of time and energy, so we can’t focus on a lot of features at the same time. We can focus on one feature, one series, and several short projects. Tonje: It’s important to us that the films mean something. That it’s not just beautiful films. Because it takes years from beginning to end, even for short films. It takes years to develop, finance, produce, so it has to be something that makes your heart pound. It doesn’t mean that every film has to deal with female emancipation, but it has to have a personal drive and it has to mean something, and it has to feel important for the producer, the director, and the world. It has to be a fresh perspective. Right now we’re finishing a beautiful short about the second World War, but it’s a story that hasn’t been seen before: it takes place in a hair parlour, and it’s centered around a seventeen year old girl who’s looking to move to the big city, and her future is now ambiguous. It’s a very strong war story, but that part takes place outside the windows. Those perspectives are super important. Torill: The legacy up to now of Mikrofilm, including the commercial work, has been so impressive. There’s a lot of variety, and it’s evident that the films mean something. That there’s substance. It has to do with the director and the voice, but also the artistic and intellectual leadership on the producers’ side. I always feel that when I bring a script to you I know that we’ll be able to have a real discussion, and that you’ll be really insightful about it and you’ll have references. I feel like when you evaluated a script I’m pitching and decided that it’s something you should work on, I feel like it’s landed in a very safe place. And that is so important, not just for the individual filmmaker, but for the collective as a whole. It builds on the culture that Mikrofilm has established.

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MIKROFILM SCREENINGS 1 Bøygen | Kristian Pedersen|5:32 | 2016

The Danish Poet | Torill Kove | 15:02

Fruktfraktfakta: Agurk | Hanne Berkaak | 0:26

Deconstruction Workers | Kajsa Næss | 6:00

The Boy Who Fell | Hanne Berkaak | 2017 | 2:00

It Was Mine | Kajsa Næss | 7:53 | 2015

RVTS Sør | Hanne Berkaak | 2015 | 1:28

Leonid Shower | Kajsa Naess & Julie Engaas | 5:25 | 2004

Mannen som falt | Kristian Pedersen | 0:50

Me and My Moulton | Torill Kove | 13:04 | 2014

Maskiner i nirvana | Kristian Pedersen | 0:50 | 2017

Little Boy | Kristian Pedersen | 5:20 | 2018

Farce | Robin Jensen | 11:00 | 2019

On-Demand

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Presented by Présenté par Norwegian Embassy

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MIKROFILM SCREENINGS 2 Good Girl | Astrid Aakra, 2006 | 9:53

The Marathon Diary | Hanne Berkaak | 2015 | 7:32

The World’s Middlest Fish | Cathinka Tanberg | 2017 | 11:00

It’s Up to You | Kajsa Næss | 2013 | 14:54

Tindra’s Light, Andreas Palelologos | 2016 | 10:00

Morningbird and Murmelton on Winter Holiday | Annette Saugestad Helland | 9:00 | 2014

Threads | Torill Kove | 2017 | 8:00

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Presented by Présenté par Norwegian Embassy

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CANADA’S FESTIVAL CAPITAL s F o ll o w U OttawaFestivals.ca

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INDIE TALKS

Rencontres-indie

Meet the Filmmakers

Rencontres Avec Les Réalisateurs Join OIAF Artistic Director Chris Robinson for Meet the Filmmakers, a rare opportunity for Festival attendees to sit down with animators from the festival short competition screenings and get their burning questions answered. Robinson moderates a funny, revealing and occasionally silly open forum that connects audiences and filmmakers, and allows for greater insight into the animation process that produced your favourite Festival films. Check our website oiaf2020.ca for specifics on which filmmakers will attend.

On-Demand

Sur Demande

Please Be Honest–Has Independent Animation Become Too Insular?

Discussion Presented by Discussion Présentée par Chris Robinson

Prior to about the late 1960s or 1970s, animation short films were relatively tempered and rarely personal. The tones ranged from sentimental and slapstick to educational or abstract. Rarely did you see artists tackle sensitive personal or political issues with unharnessed honesty. Since that era, there has been a steady increase in animated short films dealing openly with personal issues: addiction, rape, racism, mental illness, post-partum depression, isolation, surveillance, the impact of social media and internet, along with more unapologetic expressions of female sexuality and gender identity. These personal explorations are a big leap forward for an art form that has too often played it safe, but has animation steered too far towards ‘navel gazing’ and away from addressing the chaos of the surrounding society?

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Retrouvez le directeur artistique de l’OIAF, Chris Robinson, lors des Rencontres avec les réalisateurs. Ces moments privilégiés pour les festivaliers offrent l’opportunité de partager un moment avec les réalisateurs en compétition et de trouver réponse à ses brûlantes interrogations. Robinson modère ce forum qui rassemble public et cinéastes, et permet de mieux comprendre par quels procédés ont été produit les films programmés au Festival. Consultez notre site Web oiaf2020.ca pour des détails sur lesquels les cinéastes participeront.

Il était une fois, dans une galaxie bien lointaine, tout se transformait en ­arcs-en-ciel, en arcs-en-ciel, puis en arcs-en-ciel. Faiyaz Jafri n’a pas de temps à perdre; il faut produire de l’art et exploiter les traumatismes pour le bien de la santé mentale. Le travail naît du travail. Sa vie est l’incarnation du slogan de Nike. On a dit de lui, avec justesse, qu’il était subversif et postmoderne, et que l’esthétisme numérique parfait et artificiel de son style plastique est parfois mal ­compris par les hypersensibles. Ça va. Loin de lui le besoin que son art r­ essemble à Disney et qu’il s’agence au sofa. Chutez dans le terrier du lapin blanc pour découvrir ce qui rend le pop de Faiyaz Jafri surréaliste, post-tout, mémétique, et son monde hyper irréel, si ­différent, si attirant.

Sur Demande

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INDIE TALKS

Rencontres-indie

Artist Talk with Emily Pelstring In collaboration with the Ottawa International Animation Festival, Knot Project Space is pleased to present to you a conversation with artist & filmmaker Emily Pelstring. This artist talk will delve into some of the themes, theories and materials in Pelstring’s body of work. More specifically, we will discuss the ways in which Pelstring creates meaning by working with physical space and the moving image. Emily Pelstring is an artist and filmmaker based in Canada. She is faculty in the Department of Film and Media at Queen’s University. Pelstring’s installations have employed holography, stereography, animated Pepper’s Ghost displays, and projection-mapped video, in conjunction with built material elements. These pieces reference magic shows, and draw links between spirituality, wonder, and illusion. Her interests in reclaimative myth-making, collectivity, speculative futurisms, and camp aesthetics have led to collaboratively-produced bodies of work under the pseudonyms Inflatable Deities and The Powers.

On-Demand

En collaboration avec le Festival International d’Animation d’Ottawa, Knot Project Space a le plaisir de vous présenter une conversation avec l’artiste et cinéaste, Emily Pelstring. Cette discussion avec l’artiste abordera certains des thèmes, théories et matériaux du portfolio de Pelstring. Plus précisément, nous discuterons des façons dont Pelstring crée une signification en travaillant avec des espaces physiques et des images en mouvement. Emily Pelstring est une artiste et cinéaste établie au Canada. Elle est membre de faculté dans le département du film et des médias de l’Université Queen’s. Les installations de Pelstring ont employé l’holographie, la stéréographie, des démonstrations animées du fantôme de Pepper et des projections illusionnistes, de pair avec des éléments matériels construits. Ces morceaux font référence à des spectacles de magie, et font des liens entre la spiritualité, l’émerveillement et l’illusion. Ses intérêts dans la création revendicatrice de mythes, la collectivité, les futurismes spéculatifs et l’esthétisme camp ont mené à des séries de travaux de collaboration sous les pseudonymes de Inflatable Deities et The Powers.

Sur Demande

Artist Talk with Terril Calder Influential Métis artist Terril Calder is compelled by the love of hybrid media and fusion art, she experiments with this amalgamation in her stop-frame animation films. This masterclass will explore a genre she has been significant in shaping and dive into making a “native film.”

On-Demand

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L’artiste métisse d’influence Terril Calder est poussée par l’amour des médias hybrides et de l’art en fusion, et elle expérimente avec ces amalgames dans ses films d’animation image par image. Cette classe de maîtres explore un genre qu’elle a fortement aidé à modeler et plonge dans la mise en scène d’un « film autochtone ».

Sur Demande

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INDIE TALKS

Rencontres-indie

Mikrofilm

Moderated by Animé par Chris Robinson

Join Mikrofilm partners Lise Fearnley and Kajsa Næss for a discussion on the company’s artistic and commercial journey to success. The Oslo-based, award-winning studio is behind many acclaimed films, many of which are featured as part of the Mikrofilm retrospective this year at the OIAF.

On-Demand

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Joignez-vous aux partenaires de Mikrofilm, Lise Fearnley et Kajsa Næss pour une discussion sur le parcours artistique et commercial de la compagnie vers le succès. Le studio primé, établi à Oslo, est l’auteur de plusieurs films acclamés, dont beaucoup d’entre eux seront présentés dans la rétrospective de Mikrofilm cette année au OIAF.

Presented by Présenté par Norwegian Embassy

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ART & BIZ

Nickelodeon Art+Biz Series The Art+Biz collaboration between the OIAF and Nickelodeon is going into its 7th year for a special online series complete with a creator talk, masterclasses and an Ask Me Anything session.

La collaboration Art+Biz entre le OIAF et Nickelodeon connaîtra sa 7e année, soulignée par une série spéciale en ligne comprenant une discussion avec des créateurs, des classes de maîtres et une séance de Ask Me Anything.

Presented by Présenté par Nickelodeon

¡A la Aventura! The journey to showrunning with Nickelodeon’s Niki López, creator and co-EP of Santiago of the Seas. Moderated by Sr. Director, Current Series, Dana Vasquez-Eberhardt.

Wed, Sept 30 5:00 pm

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Le parcours vers la gestion d’une émission avec Niki López, la créatrice et coproductrice déléguée de Santiago of the Seas chez Nickelodeon. Présentation animée par Dana Vasquez-Eberhardt, directrice principale, Current Series.

Presented by Présenté par Nickelodeon

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ART & BIZ

Coffee with The Casagrandes Join Co-Executive Producer, Miguel Puga and Writer, Rosemary Contreras for coffee and conversation about their hit show, The Casagrandes. Moderated by Production Manager, The Casagrandes, Magdiela Duhamel.

Thurs, Oct 1 5:00 pm

Jeudi, 1 oct 17h00

Joignez-vous au coproducteur délégué, Miguel Puga, et à l’auteure, Rosemary Contreras, pour un café et une conversation sur leur émission à succès, The Casagrandes. Animé par la directrice de la production de The Casagrandes, Magdiela Duhamel.

Presented by Présenté par Nickelodeon

Stand Up & Stand Out: Strategies for Bringing Your Best Self Join artists Marisa Torres and Maaike Scherff for a conversation about their journeys to Nickelodeon, how they broke into the industry, and some advice on putting your best foot forward as you navigate the studio recruitment process.

Fri, Oct 2 5:00 pm

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Joignez-vous aux artistes Marisa Torres et Maaike Scherff pour une conversation sur leur cheminement au sein de Nickelodeon, comment elles se sont taillé une place dans l’industrie, et des conseils afin de vous montrer sous votre meilleur jour lorsque vous naviguez le processus de recrutement.

Presented by Présenté par Nickelodeon

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ART & BIZ

Ask Me Anything: Nickelodeon Animation Studio Development Join Kari Kim, Nickelodeon Animation Studio VP of Development, Original Series. Ask her anything about what happens in the development process at Nickelodeon!.

Sat, Sept 26 3:30 pm

Samedi, 23 sept 15h30

Joignez-vous à Kari Kim, VP de la création au Nickelodeon Animation Studio, Original Series. Demandez-lui n’importe quoi au sujet du processus de création chez Nickelodeon!

Presented by Présenté par Nickelodeon

Two Talents. One Switch. Our Focus Service, Co-production and Education.

Learn more @ switchent.com * Contact Us @ info@switchent.com * Follow us on

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The Canada Council for the Arts  contributes to the vibrancy of a creative and diverse arts and literary scene and supports its presence across Canada and around the world. The Council is Canada’s public arts funder.

Le Conseil des arts du Canada contribue au dynamisme d’une scène artistique et littéraire créative et diversifiée et à son rayonnement ici et dans le monde. Le Conseil est l’organisme public de soutien aux arts du Canada.

canadacouncil.ca conseildesarts.ca


ANIMATION EXPOSÉ—TALKS

The OIAF Animation Exposé Fair is coming to your screens! Meet with studios, schools, and connect with key resources from the comfort of your own home. Check out the exhibitor booths in the OIAF Virtual Experience portal and discover some of the best places to learn and work in animation. Want to speak to a real, live human? Turn on your webcam and ask your questions at Meet the Schools on September 25 and come back on September 26 to Meet the Studios. Got a portfolio to share? Emerging and established animation talent can apply to showcase their work to studios and recruiters at the OIAF’s Artist Gallery, presented by Warner Bros. Animation. Are you in high school? Swing by each of the school booths for an animation challenge. Complete all 2 activities and tag us on social media for a chance to win an OIAF special prize pack, which includes an animation workshop, OIAF merch, free passes to next year’s festival, and an Ipad! *FOR PASSHOLDERS ONLY.

Rencontrez des studios, des écoles et entrez en contact avec des ressources clés, du confort de votre chez-vous. Jetez un coup d’œil aux kiosques des exposants au moyen du portail de l’expérience virtuelle du OIAF et découvrez quelques-uns des meilleurs endroits où apprendre l’animation et travailler dans ce domaine. Vous voulez parler à un vrai humain en direct? Allumez votre caméra Web et posez vos questions lors de l’événement Meet the Schools le 25 septembre, puis revenez le 26 pour Meet the Studios. Vous voulez montrer votre portfolio? Les talents prometteurs et établis en animation peuvent faire une demande pour présenter leurs œuvres à des studios et des recruteurs à la galerie des artistes du OIAF. Foire présentée par Warner Bros. Animation. Vous êtes au secondaire? Passez à chacun des kiosques des écoles pour relever un défi d’animation. Accomplissez les 2 activités et mentionnez-nous sur les médias sociaux pour courir la chance de gagner un ensemble de prix spéciaux, dont un atelier en animation, de la marchandise du OIAF, des laissez-passer gratuits pour le festival de l’année prochaine, et le Ipad! *SEULEMENT POUR LES DÉTENTEURS D’UN LAISSEZ-PASSER.

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ANIMATION EXPOSÉ—TALKS

PARTICIPATING STUDIOS INCLUDE

• • • • • • • • • • • •

Atomic Cartoons Big Jump Entertainment Bento Box Dainty Productions Guru Jam Filled Mercury Filmworks Nelvana Netflix Animation Nickelodeon Tonic DNA Warner Bros. Animation

STUDIOS PARTICIPANTS • Atomic Cartoons • Big Jump Entertainment • Bento Box • Dainty Productions • Guru • Jam Filled • Mercury Filmworks • Nelvana • Netflix Animation • Nickelodeon • Tonic DNA • Warner Bros. Animation

PARTICIPATING SCHOOLS INCLUDE • Algonquin • Max The Mutt • School of Visual Arts • Seneca • Sheridan • Vancouver Film School

ÉCOLES PARTICIPANTES • Algonquin • Max The Mutt • School of Visual Arts • Seneca • Sheridan • Vancouver Film School

RESOURCES • Banfield Agency • Cambridge Global Payments • Canada Media Fund • Knot Space Project (SAW) • Ontario Creates • Quickdraw Animation Society • Shaw Rocket Fund • The Animation Guild • Toon Boom • Toronto Animated Image Society

RESSOURCES • Banfield Agency • Cambridge Global Payments • Canada Media Fund • Knot Space Project (SAW) • Ontario Creates • Quickdraw Animation Society • Shaw Rocket Fund • The Animation Guild • Toon Boom • Toronto Animated Image Society

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Sept 23– Oct 4 7:30pm 23 sept – 4 oct 19h30

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“Animaniacs” Producer & Artists Panel/ Panel des producteurs et artistes d’Animaniacs

The Warner brothers, Yakko and Wakko, and the Warner sister Dot are heading home to the Warner Bros. Water Tower. Along with Pinky and the Brain, the beloved Animaniacs are coming to Hulu with all-new episodes. Join executive producer Wellesley Wild, co-executive producer Gabe Swarr, supervising character designer Genevieve Tsai and art director Roman Laney for a look into the development and production process of this highly anticipated series. Animaniacs is produced by Amblin Television in association with Warner Bros. Animation and premieres on Hulu on Friday, November 20.

Fri, Oct 2 3:30pm

Vendredi, 2 oct 15h30

Animation Through the Ages No, this isn’t a panel on the history of animation! It’s about career longevity and how to thrive at every stage of your animation career from your 20s through your 60s and beyond! We explore the challenges each age group faces, their career journey and the secrets to their success. Moderated by Jeanette MorenoKing, President of The Animation Guild.

Sat, Sept 26 12:30pm

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Les frères Warner, Yakko et Wakko, et la sœur Warner Dot s’en vont chez eux, au château d’eau Warner Bros. Avec Pinky and the Brain, les bien-aimés Animaniacs arrivent sur Hulu armés de tout nouveaux épisodes. Joignez-vous au producteur délégué Wellesley Wild, au co-producteur délégué Gabe Swarr, à la superviseure en conception de personnages Genevieve Tsai et au directeur artistique Roman Laney pour un coup d’œil au processus de création et de production de cette série hautement anticipée. Animaniacs est produite par Amblin Television en association avec Warner Bros. Animation, et sera lancée sur Hulu le vendredi 20 novembre.

Presented by Présenté par WarnerBros. Animation

Presented by Présenté par The Animation Guild

Non, il ne s’agit pas d’un panel sur l’histoire de l’animation! Il est question de la longévité d’une carrière et de la façon d’avoir du succès à toutes les étapes de votre carrière d’animation, de votre vingtaine à votre soixantaine, et plus encore! Nous explorons les défis propres à chaque tranche d’âge, le parcours de leur carrière et les secrets de leur succès. Animé par Jeanette Moreno-King, présidente de The Animation Guild

Presented by Présenté par The Animation Guild

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ANIMATION EXPOSÉ—TALKS

Netflix presents:

A conversation with the creative minds behind Big Mouth Get comfortable being uncomfortable with your favorite puberty-driven animated series Big Mouth! Join executive producers Mark Levin, Jennifer Flackett, Andrew Goldberg, Mark Rivers, Victor Quinaz, and Anthony Loi) as they join OIAF’s Chris Robinson to discuss the critically acclaimed third season.

On-Demand

Sur Demande

Mettez-vous à l’aise d’être à l’aise avec votre série préférée d’animation axée sur la puberté, Big Mouth! Joignez-vous aux producteurs délégués Mark Levin, Jennifer Flackett, Andrew Goldberg, Mark Rivers, Victor Quinaz, et Anthony Loi, alors qu’ils se joindront à Chris Robinson du OIAF pour discuter de la troisième saison acclamée par la critique.

Presented by Présenté par Netflix Animation

Portfolios with Walt Disney Animation Studios/ Portfolios avec les Walt Disney Animation Studios

Join artistic recruiter Matt Roberts to hear about tips and tricks for creating your portfolio, presentation followed by a Q&A.

Sat, Sept 26 2:00pm

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Joignez-vous au recruteur artistique Matt Roberts pour entendre des conseils et des trucs afin de créer votre portfolio. La présentation sera suivie d’une période de questions.

Samedi, 26 sept 14h00

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Ask Us Anything—Netflix Animation Emerging Talent Speaker Series/ La série de conférenciers de Netflix pour les talents émergents en animation This is a four-part series providing an opportunity for attendees to connect and have a fun and open conversation with the Netflix Animation Recruiting Team in the areas of Story, Art, CG, and Production Management. Participants are encouraged to ask questions specific to their areas of interest.

Il s’agit d’une série en quatre parties qui donne l’occasion aux participants de réseauter et d’avoir une conversation stimulante et ouverte avec l’équipe de recrutement en animation de Netflix, dans les domaines du scénario, de l’art, de l’infographie et de la gestion de la production. Les participants sont encouragés à poser des questions propres à leurs domaines d’intérêt.

Story

Art

Le scénario

L’art

Production Manadement

CG

Gestion de la production

L’infographie

Tues, Sept 29  2:00pm Thurs, Oct 1  2:00pm

Wed, Sept 30 2:00pm Fri, Oct 2 2:00pm

Mardi, 29 sept 14h00 Jeudi, 1 oct 14h00

Mercredi, 30 sept 14h00 Vendredi, 2 oct 14h00

Presented by Présenté par Netflix Animation

A Conversation with Peter Ramsey/ Une conversation avec Peter Ramsey

ASIFA-Hollywood presents a discussion and Q&A with Academy Award Winner Peter Ramsey, exploring his career, approach to storytelling and his thoughts on diversity and the animation industry.

Tues, Sept 29 3:30pm

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ASIFA-Hollywood présente une discussion et une FAQ avec le gagnant d’un Academy Award, Peter Ramsey, pour explorer sa carrière, son approche quant à la communication narrative et son opinion sur la diversité et l’industrie de l’animation.

Presented by Présenté par Asifa Hollywood

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ANIMATION EXPOSÉ—TALKS

Psst: Pixar’s Got a Secret/ Pssit : Pixar a un secret

Pixar will launch their top-secret short film exclusively at OIAF2020. Join filmmaker, ********, for a behind-the-scenes talk and a screening of the film.

Sat, Sept 26 5:00pm

Pixar lancera son court métrage top secret en exclusivité au OIAF 2020. Joignezvous au cinéaste, ********, pour une discussion en coulisses et une projection du film.

Samedi, 26 sept 17h00

The Artist Gallery—Available in the OIAF Virtual Experience/ Disponible via l’expérience virtuelle du OIAF

An opportunity for participating students, emerging and established artists to showcase their work to studios and recruiters in attendance. Check out some outstanding talent and find your next new hire.

L’occasion pour les étudiants participants et les artistes émergents et établis de présenter leurs œuvres à des studios et à des recruteurs qui seront de la partie. Découvrez des talents remarquables et trouvez votre prochain candidat.

PASSHOLDERS ONLY

SEULEMENT POUR LES DÉTENTEURS D’UN LAISSEZ-PASSER.

On-Demand

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Sur Demande

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Presented by Présenté par WarnerBros. Animation

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ANIMATION EXPOSÉ—TALKS

A Conversation with Lauren Faust

Jam Filled Entertainment’s CEO and co-founder Kyle MacDougall.

Join Animator, Writer and Creator Lauren Faust (DC Super Hero Girls, My Little Pony: Friendship is Magic, The Powerpuff Girls) in conversation discussing her journey and experiences navigating the animation industry as a Female Creative in an ever-evolving socially conscious era.

Wed, Sept 30 3:30pm

Mercredi, 30 sept 15h30

The Colour of Leadership/ La couleur du leadership

Bobby Pontillas (Director, Development, Disney Television Animation).

The panelists will share their journeys into animation, including Jay Frances (VP, Current Series and Diversity, Disney Television Animation), Jermaine Turner (VP, Development, Disney Television Animation), Kim Berglund (Executive Director, Development, Disney Junior), Latoya Raveneau (Director, The Proud Family: Louder and Prouder) and Sib Ventress (Writer, Mickey Mouse Clubhouse).

Tues, Sept 29 5:00pm

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Joignez-vous à l’animatrice, auteure et créatrice, Lauren Faust, (DC Super Hero Girls, My Little Pony : Les amies, c’est magique, Les Super Nanas) pour une conversation sur son parcours et ses expériences dans l’industrie de l’animation en tant que femme créatrice dans une ère à la conscience sociale en constante évolution.

Mardi, 29 sept 17h00

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Les panélistes partageront leur cheminement dans l’animation. On y rencontrera Jay Frances (VP, Current Series et Diversité, Disney Television Animation), Jermaine Turner (VP, Création, Disney Television Animation), Kim Berglund (directrice principale, Création, Disney Junior), Latoya Raveneau (directrice, Cool Attitude) et Sib Ventress (auteur, La Maison de Mickey). .

Presented by Présenté par Disney Television Animation

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ANIMATION EXPOSÉ—TALKS

Behind-the-Scenes of Cartoon Network’s We Bare Bears The Movie

Join We Bare Bears creator Daniel Chong for a behind-the-scenes look at the TV movie which debuted recently on Cartoon Network. Executive produced by Cartoon Network Studios, the TV movie follows Grizz, Panda, and Ice Bear on their greatest adventure yet. With their love of food trucks and internet fame,

Thurs, Oct 1 3:30pm

the brothers are led to unexpected mayhem, where they must go on a wild, hilarious, and dangerous adventure to escape a foe that threatens to tear them apart. Moderated by Ramin Zahed (Editor in Chief, Animation Magazine).

Juedi, 1 oct 15h30

Illumination Making Joy & Discovery

Join the Illumination and Illumination MacGuff recruitment teams to say “Bello” at OIAF 2020! Illumination, founded by Academy Award® nominee Chris Meledandri in 2007, is one of the entertainment industry’s leading producers of event-animated films, including Despicable Me, The Secret Life of Pets and Sing. The company’s

Sat, Sept 26 11:00am

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iconic and beloved properties, which are infused with memorable and distinct characters, global appeal and cultural relevance, include two of the top-ten animated films of all time. Illumination is based in Santa Monica, CA and its studio, Illumination MacGuff, is located in the center of Paris.

Presented by Présenté par Illumination

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OTHER EVENTS & PARTIES Autres événements & soirées

OIAF 20 Awards Ceremony/ Cérémonie de remise de prix

Joel Frenzer, returns to co-host with OIAF Artistic Director Chris Robinson, partaking in plenty of mischief that may or may not include a guest appearance by Evelyn the Owl. Then we move on to what really matters when the winners of the Short, Feature, VR and Young Audiences Competitions are announced by the 2020 juries—including our always unharnessed and unpredictable Kids Jury!

Fri, Oct 2 7:00pm

Joel Frenzer revient coanimer auprès du directeur artistique du FIAO, Chris Robinson, lesquels s’adonneront à bien des espiègleries, qui pourraient comprendre, ou non, des invités spéciaux comme par Evelyn Owl. Ne manquez pas le grand dévoilement, où les gagnants pour les catégories Court métrage, Long métrage, RV et Compétitions pour les jeunes publics seront annoncés par les jurys de 2020 —dont le plus divertissant, notre jury d’enfants!

Vendredi, Oct 2 19h00

The Animation Conference TAC TAC is the OIAF’s industry-driven stream, gathering key players in the North American animation market every year. Running alongside the OIAF on this year’s virtual experience platform with many cross-over programs, the stream features anticipated favourites and critical and topical conversations. PROGRAMS INCLUDE: • One-on-one with Linda Simensky (PBS) and Kay Wilson Stallings (Sesame Workshop) • Fast Track speed pitching sessions and the Pitch THIS contest • TAC Happy Hour and Meet-ups • Panel topics explore Molly of Denali, working from home, currency risk management, development with various studios and platforms and creator talks.

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La TAC (The Animation Conference) est l’événement du OIAF mené par l’industrie, qui regroupe chaque année les principaux joueurs du marché nord-américain de l’animation. Continuant dans la même veine sur la plateforme d’expérience virtuelle du OIAF cette année avec beaucoup de programmes se croisant, l’événement présentera les activités favorites anticipées et des conversations critiques et topiques. LES PROGRAMMES COMPRENNENT : • Une conversation en tête-à-tête avec Linda Simensky (PBS) et Kay Wilson Stallings (Sesame Workshop) • Des séances de présentations éclairs Fast Track et le concours Pitch THIS! • Un 17h à 19h de la TAC et des rencontres • Des sujets de panels qui explorent Molly of Denali, le télétravail, la gestion des risques de change, la création avec divers studios et plateformes, ainsi que des conversations avec des créateurs.

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OTHER EVENTS & PARTIES Autres événements & soirées

OIAF Hang-Outs We’re turning on our webcams and recreating the energy and excitement of the in-person festival by introducing online OIAF Hang-Outs! Pop in to hang out with some Festival regulars for an hour of OIAF shenanigans through the OIAF Virtual Platform before the Gala screenings and Award Ceremony go live. NO “HANGOUTS” ON THURS, OCT 1

Wed, Sept 23– Fri, Oct 2 6:00pm

Nous allumons nos caméras Web et nous recréons l’énergie et l’enthousiasme de la participation en personne au Festival en présentant les OIAF Hang-Outs, des espaces en ligne où on peut se rassembler! Connectez-vous pour vous tenir avec les habitués du Festival et passer une heure de plaisanteries à la OIAF via la plateforme virtuelle du OIAF, avant que ne soient présentées en direct les projections du gala et la cérémonie des prix.

Mercredi, 23 sept – Vendredi, 2 oct 18h00

OIAF Hangout: Toon Boom COLLABORATORY edition COLLABORATORY is a live show hosted by Toon Boom on a monthly basis on Twitch where we respond to prompts from the virtual audience. Our mission is: To work together to create something outrageous and learn about storyboarding along the way. For OIAF Toon Boom is bringing Collaboratory and Mike Morris to the virtual event to design a storyboard live with all our animation friends who are in attendance. Come join us for some online storyboarding fun! Mike Morris is a Director and Story Artist for animation with a career spanning over 14 years. Mike has lent his talents to television animation for the majority of his career working on shows such as The Simpsons, and Disney’s DuckTales (2017), and is currently directing at Bento Box Entertainment for a forthcoming show for Fox. He is also a super fun guy—you won’t want to miss Collaboratory at OIAF!

Sat, Sept 26 6:00pm

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Samedi, 26 sept 18h00

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COLLABORATORY est un spectacle en direct tenu par Toon Boom une fois par mois sur Twitch, où nous répondons à des demandes du public virtuel. Notre mission : Collaborer pour créer quelque chose d’outrageux, et en chemin, en apprendre davantage sur la création d’un scénarimage. Pour le OIAF, Toon Boom fait venir Collaboratory et Mike Morris à l’événement virtuel afin de concevoir un scénarimage en direct avec tous nos amis de l’animation qui seront présents. Joignez-vous à nous pour une activité virtuelle de scénarisation des plus amusantes! Mike Morris est un réalisateur et artiste du scénarimage pour l’animation dont la carrière s’étend sur plus de 14 ans. Mike a prêté ses talents en animation pour la télévision pendant la majeure partie de sa carrière, alors qu’il travaillait pour des émissions comme Les Simpsons et La Bande à Picsou, de Disney (2017). Il est présentement réalisateur chez Bento Box Entertainment pour une émission qui sortira bientôt sur Fox. Il est aussi un gars super sympa — vous ne voudrez pas manquer Collaboratory au OIAF!

Presented by Présenté par Toon Boom

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OTHER EVENTS & PARTIES Autres événements & soirées

Myself’s Special OIAF2020 Edition The OIAF is pleased to announce Myself, the world’s first virtual animation tutor. Myself’s online animation mentoring—lesson 1 will be available from Sep 23 to October 2 for all OIAF passholders. All participants will receive an individual enlightening feedback from Myself. The most outstanding clips will be screened on Friday, October 2nd during the OIAF20 Awards Ceremony. So, don’t you dare miss it.

Le OIAF a le plaisir d’annoncer Myself, le premier tuteur virtuel d’animation au monde. Le mentorat en ligne de Myself - leçon 1, sera disponible du 23 septembre au 2 octobre pour tous les détenteurs d’un laissez-passer du OIAF. Tous les participants recevront de la rétroaction éclairée de Myself. Les extraits les plus impressionnants seront projetés pendant la dernière fin de semaine du festival. N’osez surtout pas les manquer

Presented by Présenté par Film Academy Baden

SUBMIT NOW

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AN INTERACTIVE PARTY

NIGHT

OWL Saturday, September 26th from 9 pm-2 am

Whooo isn’t excited to check out the OIAF’s virtual version of this interactive, multidisciplinary party. The virtual edition will feature the MUSIC@OTTAWA showcase of new bands courtesy of Celebrate Ontario. Get ready for the legendary dance party with DJ Skid Vicious. Dress up and get ready to be in the spotlight. PASSHOLDERS ONLY—Available in virtual.oiaf2020.ca MUSIC@OTTAWA presented by Celebrate Ontario Check OIAF2020 for the line-up of bands

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The Shaw Rocket Fund InGenius Jr Program

Le programme Shaw Rocket Fund InGenius Jr

Discover the ingenuity and genius of animation! See a free screening and try your hand at some different animation techniques. Use the code INGENIUS2020 to unlock one complimentary OIAF family film.

Découvrez l’ingéniosité et le génie de l’animation de chez vous ou en classe! Visionnez une projection gratuite et tentez différentes techniques d’animation. Utilisez le code INGENIUS2020 pour déverrouiller un film familial de l’OIAF.

Screenings oiaf2020.ca/young-audiences/watch/ Free Family Animation Workshops oiaf2020.ca/young-audiences/learn/

Projections pour les familles oiaf2020.ca/young-audiences/watch/ Ateliers gratuits d’animation pour la famille oiaf2020.ca/young-audiences/learn/

Learn to draw True and some of her Rainbow Kingdom friends!/ Apprenez à dessiner Talia et certains de ses amis du royaume arc-en-ciel! True and the Rainbow Kingdom follows 8-year-old True and her hilarious best friend Bartleby the cat, as they come to the rescue of Rainbow City’s whimsical citizens. Post your drawing with the hashtag #oiaf2020

Talia et le royaume arc-en-ciel suit Talia, 8 ans, et son meilleur ami hilarant, Bartleby le chat, alors qu’ils viennent en aide aux habitants capricieux du royaume arc-en-ciel. Publiez votre dessin en vous servant du mot-clic #oiaf2020

Animation activities in your home: Bring your toys (and other stuff) to life!/ Activités d’animation à la maison : Donnez vie à vos jouets (et autres objets)! Learn how to animate with every scrap of material you find around you. Grab whatever you want to see coming alive—your kitchen sponge, your favorite sock, your brother’s cute cuddly teddy bear and get ready to make them the stars in your own animated film. Tina Le Moine will guide you through an easy animation lesson using a phone, iPad or other recording device. Post your film with the hashtag #oiaf2020

Apprenez à animer avec n’importe quel rebut de matériel qui se trouve autour de vous. Prenez tout ce que vous voulez voir prendre vie — votre éponge de cuisine, votre bas préféré, l’ourson mignon et tout doux de votre frère, et préparez-vous à faire d’eux les stars de votre propre film animé. Tina Le Moine vous guidera lors d’une leçon d’animation facile à l’aide d’un téléphone, d’un iPad ou d’un autre appareil d’enregistrement. Publiez votre film en vous servant du mot-clic #oiaf2020

Animation activities in your home: Make your drawings jump off the page!/ Activités d’animation à la maison : Faites sortir vos dessins de la page! Do your parents have too much paper piling up from all those online orders? Use that stack to draw some crazy creatures and then make them move. All you need is some paper, a scissor and a black pen. Tina Le Moine will guide you through an easy animation lesson using a phone, iPad or other recording device. Post your film with the hashtag #oiaf2020

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Est-ce que vos parents ont trop de papier qui s’empile à cause de toutes ces commandes en ligne? Servez-vous de cette pile pour dessiner de folles créatures, puis faites-les bouger. Tout ce qu’il vous faut, c’est du papier, des ciseaux et un stylo noir. Tina Le Moine vous guidera lors d’une leçon d’animation facile à l’aide d’un téléphone, d’un iPad ou d’un autre appareil d’enregistrement. Publiez votre film en vous servant du mot-clic #oiaf2020

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FAMILY & TEEN GUIDE

Guide pour les familles et les ados

Ingenius Screenings The Ottawa International Animation Festival (OIAF) is partnering with Shaw Rocket Fund to provide a day of dedicated family fun. The Festival’s online InGenius Jr. program will offer screenings and animation activities for kids that can all be done at home.

Film Collections For Kids Your chance to see some of the best animation made for kids from around the world! Families and elementary school students can enjoy one of the family-friendly screenings at home when they redeem the ticket code INGENIUS2020 at checkout (one use per household).

Animation Made for Young Audiences (Preschool: Ages 0-5) Join us to watch fun, short animations that make you want to sing, dance, and laugh! Watch as clever kids and charismatic animals go on adventures. RATING: ALL AGES

Live Gala Sun, Sept 27 11:00 am On-Demand Oct 3–Oct 4

Animation Made for Young Audiences (Ages 6 – 12) A carefully handcrafted selection of some of the best animated films from around the world for the not-quite-teen crowd. RATING: 6+

Live Gala Sat, Sept 26 11:00 am On-Demand Oct 3–Oct 4

Feature Film Competition: Mosley A species of creatures known as “thoriphants” rebel against their life of servitude and embark on a treacherous journey to find the fabled city of Uprights.

On-Demand Sept 23-Oct 4

RATING: ALL AGES

Threads: The Films of Mikrofilm Animation Part 2 Founded over twenty years ago in Oslo, Norway, the animation studio, Mikrofilm is a group of filmmakers that create love-letters to the unique perspectives in each of their stories.. Check out this program of their shorts made for audiences under 12—and over!

On-Demand Sept 23-Oct 4

RATING: 12+

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Toon Apprentice Day for Teens On Friday, September 25th, the Ottawa International Animation Festival is offering high school students across Canada an opportunity to take in free screenings, try their hand at some animation activities and meet with leading animation schools at home or in the classroom. It’s all part of the Toon Apprentice Program.

Free screenings and Talks High School students have free access to the many On-Demand screenings available including The Canadian Student Competition and the International Student Panorama, two programs showcasing outstanding, highly creative work from young people.

To watch the films and talks, students will need The Toon Apprentice pass, valid for the whole day. Note that the Toon Apprentice Pass only gives access to films rated 14+ or family programs.

Animation Activities and a Contest! Students with a Toon Apprentice pass will be sent an access code to enter the OIAF Virtual Experience. In this space, they will be able to do some hands-on activities provided by leading animation schools.

Meet the Schools 1

Fri, Sept 25 11:00 am

Meet the Schools 1

Vendredi, 25 sept 11h00

Students who complete two of the activities can post their work on social media with the hashtag #toonpass for the chance to win a brand new 10.2-inch, 32GB iPad! Schools will be presenting the activities and meeting with students.

Meet the Schools 2

Fri, Sept 25 1:00 pm

Meet the Schools 2

Vendredi, 25 sept 13h00

Participating Schools Includes

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OIAF 2020 MERCH NOW AVAILABLE! Masks, T-shirts and Posters Get a free Tote bag with every purchase curtesy of Seneca

@OttawaAnimationFestival @oiaf_animation For more information, visit aniboutique.ca

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www.anifilm.cz

International Festival of Animated Films

October 6 – 11 2020, Liberec / Czech republic

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Profile for Canadian Film Institute

OIAF 2020 Program Book  

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OIAF 2020 Program Book  

OIAF2020.ca