Marija ratković - Hrvatski filmski savez

SELECTION COMMITTEE
da nam je prije nužne i nezahvalne
redukcije francuske animacijske
ponude (kako bismo oslobodili
mjesta i za ostale zemlje i
autore), trebalo istražiti pripadaju
li autori tih malih animacijskih
čuda doista kategoriji “mladeži”,
ili se pak s Karlovčanima netko
neslano šali. Kada smo ustanovili
da šale nema, krenuli smo dalje
tražiti djela koja se mogu s njima
nositi, u objema selekcijama.
Na sreću, našli smo ih dosta, ako
ne baš među animiranim radovima
ili onima malobrojnijima hibridno-eksperimentalne
naravi
(slobodnoga stila), a onda sigurno
među ozbiljnim dokumentarcima
i igranim filmovima koji i
ove godine dominiraju. A to je razumljivo,
jer i najstravičnija izmišljotina
mladima je uvijek bila
milija od najšećernije zbilje. Ono
što u tim fikcijama može ugodno
zastrašiti nisu više toliko živi
mrtvaci i ostale horor spodobe
što se iz godine u godine do iznemoglosti
recikliraju na svim stranama
svijeta, koliko izumiranje
dijaloga kao načina komunikacije
među živima, koji zamjenjuje
unutrašnji monolog i voice-over u
velikom broju narativnih filmova.
Izvjesna doza “hermetičnosti”
kao posljedica takvih izbora,
obilježit će jače nego do sada
oba izdanja karlovačkih festivala,
koji i dalje ostaju stjecištem neiscrpne
mladenačke energije, imaginacije
i invencije.
› On selecting the films
Similarly to last year, perhaps
even a bit more, the selection jury’s
biggest problem was length.
Double the length! 210 minutes of
programme seemed too short for
the international competition of
the Four River Film Festival and
too long for the Youth Film Festival
programme, of course, if we
want to make it consistent and
match the quality of the international
programme. The problem
is a completely logical one,
because one country simply cannot
produce as many films as
were entered in FRFF, let alone
as many quality ones. Still, it can
offer some films to remember,
equally excellent as any made by
young people from around the
world.
This year, at the very top of
the list of entered films, the bar
has been raised by the French
ESMA studio with about ten computer
animated films so superior
in every respect – narratively,
visually, in animation, style,
etc., that before we undertook
the ungrateful task of reducing
the number of French animated
films (in order to leave room for
other authors and countries), we
first had to verify whether these
animations really were made by
high school kids or if someone
was playing a joke on us. Once
we’ve made sure there was no
joke involved, we went on looking
for films which could compete
with them, in both competitions.
Luckily, we found many,
if not among the animated works
or the few hybrid-experimental
ones (“freestyle”), then definitely
among the documentaries
and fiction films which have
been dominant this year. This is
understandable since young people
find even the scariest fantasy
more appealing than the most
sugar-coated reality. What can
be pleasantly scary is no longer
the living dead and other horror
creatures that year after year get
recycled to death everywhere
around the world, as much as
the loss of dialogue as a form of
communication among the living,
replaced by interior monologue
or off-screen narration in
a large number of films. A certain
dose of hermetic sensation,
as a result of these choices, is a
marked characteristic of both
festivals in Karlovac which still
remain the crossroads of inexhaustible
youthful energy, imagination
and invention.
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animirani • animation