Competition Shorts 6

75 minutes
Competition Shorts 6

A royal collection of 53 films from all parts of the world and a great range of narrative and as much as 20 non-narrative films.

This program screened as part of HAFF 2017

Showing in this program

Black Box

Black Box

  • Isabel Herguera / Izibeñe Oñederra
  • Spain / Italy / India, 2016
  • 6 min.

A moving truck is heading towards the Igueldo Lighthouse, where a woman lives with a dark-coloured dog. Inside the charged environment that is the lighthouse’s interior, the woman will become the protagonist of the strangest of hallucinations.

Erasure

Erasure

  • Birgitta Hosea
  • United Kingdom, 2017
  • 3 min.

Repetitive actions and the textures of ink, bleach and other cleaning products are used to re-animate the labour of domestic work performed by many generations of women, yet invisible and forgotten.

Extrapolate

Extrapolate

  • Johan Rijpma
  • The Netherlands / Japan, 2016
  • 2 min.

In this hand-drawn animation a line is being extrapolated through a grid.
When the line exceeds the boundaries of the grid, the process spreads to and reflects on its surroundings. Beyond each boundary the extrapolation of movement is causing deformation in a systematic but speculative way.

Life Cycles

Life Cycles

  • Ross Hogg
  • United Kingdom, 2016
  • 4 min.

An observational exploration of routine, monotony, attention and distraction.
Using a rule-based, rhythmical structure, the film elevates the mundane, personal and relatable aspects of life whilst offsetting them with more serious, global issues which continually seep in to our lives, becoming commonplace.
Will we continue to let events pass us by uncontested, or will we decide to break the cycle?

Miller Fisher

Miller Fisher

  • Faiyaz Jafri
  • Hong Kong, 2016
  • 9 min.

Miller Fisher amalgamates the distorted visual, physical and existential experience of an autoimmune disorder by the same name, with the aesthetics and vernacular of the animated GIF.

The Missing Words

The Missing Words

  • Mateusz Sadowski
  • Poland, 2016
  • 4 min.

The starting point for the film is to draw attention to the lack of language tools that would enable giving appropriate names of the current problems of civilization in the modern world.
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The Sparrow’s Flight

The Sparrow’s Flight

  • Tom Schroeder
  • United States, 2016
  • 14 min.

A last collaboration with my dead friend Dave Herr.

The Wild Boar

The Wild Boar

  • Bella Szederkényi
  • Germany / France / Hungary, 2016
  • 13 min.

A homeless orphan, an animalistic little kid escapes the big city into the darkness of the woods. It is there that the kid meets a creature mightier than ever imagined.

Waiting for the New Year

Waiting for the New Year

  • Vladimir Leschiov
  • Latvia, 2016
  • 8 min.

A lonely woman street cleaner’s letter to unknown person, written on the first day of the New Year: a year spent observing the seasons and dreaming of a miracle for the following New Year.

Wall Dust

Wall Dust

  • Haiyang Wang
  • China, 2016
  • 7 min.

Wall Dust is an extension of that of my two previous animations Freud, Fish and Butterfly (2009) and Double Fikret (2012), both of which have been consolidated/fused into a Performance - Drawing trilogy.
This entire animation is a revolving mechanism, with no beginning or outcome. There's only an obsession-like force pushing the plot along, which causes regeneration, substitution, disruption/disintegration, construction, circulation and chain reactions to occur between different objects. I take advantage of the language of animation to excavate and erect hidden relations between various objects, while the plotline moves in the direction of nothingness.
Changes occur randomly throughout the production process of this work, which is devoid of presuppositions or predefined script. Hence, the work requires me to personally participate in each part of the production, taking the thought variables that continuously spring up throughout this process and record them into the development of the work. Therefore, the process is also a part of the "performance art" involved in making the work.
Many elements of the work Wall Dust were generated at random, and were then reconstructed in the animation. Part of the concept of the work is also to allow accidental factors to decide and alter the animation's orientation. Eventually this forms into the strength of the work. A few of the archetypal images and symbols in the work have their origin in religion, ambiguous architecture, Western Renaissance painting as well as contemporary photography. As inspiration sources, they are assigned to the reinvention of imagination. The use of these elements lies not in the consideration of any insinuation. Actually, all of the original information is lost after this re-creation. I merely wish to let them enter into and play a role in a simulated world/simulation of the world.