From one of anthropocene’s most charismatic megafauna – Ailuropoda melanoleuca : “… and if I hear anyone else say ‘isn’t he cute’…”
Tigris, blue banner Manchu, was born in Bejing and moved to Canada as a teen. She first studied biology and anthropology, later found herself graduating in film animation. She lives and works in Montreal.
A short experimental film that serves as an adaptation of Mexico’s famed female writer, Rosario Castellano’s novel, “The Book of Lamentations.” The Stag’s Mirror is a construct of interlaced imagery and text that establishes a break with progressive documentary text and how it is represented. The film is both a story and a critique of traditional ethnographic film. Animations/glitches in the film serve to veil and redefine the presentation of cultural presentation.
Robin Starbuck is a New York based filmmaker and animator. She is an adopted daughter of the Apsaalooke Tribe of eastern Montana and a professor of experimental film and animation at Sarah Lawrence College. Her work in experimental film, installation art, animation and media for theater has been exhibited in Museums, Cultural Centers, Galleries, and festivals in the United States, Europe and South America. She has received multiple awards and fellowships for artist residencies both nationally and internationally. Ms. Starbuck’s current projects include How We see Water, an experimental documentary film on indigenous young women in Chiapas, Mexico, Stag’s Mirror, a poetic interpretation of Rosario’ Castellano’s novel, The Book of Lamentations, several animation projects, and video projections for Theater projects in NYC. She has produced media projections for the puppeteer, Dan Hurlin’s play Double Aspects: Bright and Fair, The Pan Asian Repertory Theater’s Dojoji, for the experimental operas FROTH: Future Archaeologies of Love and Power performed at NY’s Symphony Space and Hole: An Opera in Search of an Opera in Europe, for New York puppeteer Tom Lee’s production of Shanks Mare, and sculptor Mel Chen’s museum installation See to Sea, among others.
Based on methods found in early fantasy cinema, Silver Seeds unveils a microcosmic world full of desire, longing and dreams. In this world two friends go about their daily lives, while also imagining journeys to the sky. There is a logic to this strange place, but this logic is eventually disrupted. Stop motion animation is used to depict the very human desire to move beyond the physical constraints of existence. The results is a spiritual awakening, a synthesis of the material and the immaterial and the acknowledgment of the complexities of being human. The film is also a metaphor for digital media and film, Silver Seeds paying homage to the “silver screen”.
Kim Collmer is an American artist based in Cologne, Germany. In her practice, she negotiates memory, fantasy, and humor to question historical and contemporary notions of progress and development. Working with traditional animation techniques, video, and collage, her work often pays tribute to forgotten “futuristic” spaces. Collmer develops and explores, these environs through an expansive use of materials that she further manipulates through editing and compositional strategies. Her work has been described as having “an epic sweep” by the New York Times, and she has been compared to Alexander Calder for the childlike charm of her films by the New Yorker.
We’re thrilled to finally bring you the fourth edition of Stockholm Experimental and Animation Film Festival, all online and completely free of charge. This edition has been delayed several times, most recently due to the ongoing pandemic. Below are 33 terrific short films for your enjoyment, available until September 12th. Watch them, attend our Facebook event, vote for the audience award below, take care of each other and wash your hands regularly. Winners will be announced in late September.