After receiving an unexpected package, a group of sub-par villains is tasked with watching what the mysterious box contained, a baby.
Created by Sam Aria
Cast: Reed Noel, Peter Wilson, Dom Boon
Watch the film here: https://www.wildsound.ca/videos/watch-the-notorious-network
https://www.instagram.com/the_sam_aria
Read interview with the filmmaker: https://matthewtoffolo.com/2023/08/31/filmmaker-sam-aria-the-notorious-network/
GROCERY RUN, 2min., USA
Directed by Woody Yocum
Just a quick run to the store for milk and eggs….and everything we could squeeze into two minutes flat. Directed and animated by Woody Yocum. Music composed and performed by Klaus Ebert.
https://instagram.com/woodyyocum
https://www.wildsound.ca/videos/grocery-run-review
Get to know the filmmaker:
1. What motivated you to make this film?
All of our shorts are collaborations between me and our great composer/master musician Klaus Ebert. Short animated film is a perfect outlet for both of us. This is our seventh short film together and we hope to continue into the distant future. I am the solo animator/visual artist on our projects. This is a blessing and curse as it is wonderful to have the freedom to experiment and take risks with new styles and approaches but animation also has a tendency to bury one in work. I have worked in the animation business for almost fifty years, starting out at Nelvana in its infancy in 1975. I have spent more than the last thirty years in LA with the last more than twenty five years at Disney TV Animation. The pressures of TV production have a tendency to confine us to roles that we are especially efficient at and decades can fly by doing a one part of the process that you know and are known for. Having the opportunity at the end of my career to explore new subjects and styles but also to do all the parts of the animation process I love, is something I wouldn’t trade.
2. From the idea to the finished product, how long did it take for you to make this film?
This film took about four months to make from starting to build the puppets to final comp and mix. Our process is a stop frame hybrid. I build the puppets out paper, wire, latex and hot glue, using tiny magnets instead of ‘tie downs’ in the feet. I have a very small shooting stage with a tin floor above which I built a large soft light box. I shoot almost all the character animation over green screen with our backgrounds as photoshop docs that I comp in After Effects.
3. How would you describe your film in two words!?
‘Paper World’ the style I am embracing is make all the characters and settings feel like they are crafted from paper.
4. What was the biggest obstacle you faced in completing this film?
My greatest obstacle is in cleaning up the inevitable flaws in my shoots. It is difficult and time consuming to track stop frame animation and this is a problem that I continue to try to search for easier approaches for/
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was thrilled! I really appreciate the thoughtful responses from each of your reviewers. They really spoke to the goals that I had in mind in crafting the world of our little story. It gave me a real boost!
6. When did you realize that you wanted to make films?
It’s always been my dream but for me many of the NFB films of the sixties and seventies opened my eyes to the possibilities and I was lucky enough to go the Sheridan College in Oakville in the early days of their animation program.
7. What film have you seen the most in your life?
There are too many to say. For my favorite piece of animation though, I would have to say Genie’s ‘You Ain’t Never Had a Friend Like Me’ song from Aladdin animated by Eric Goldberg. People will still marvel at that hundreds of years from now.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
I love your video reviews! I gives any filmmaker such a boost to see an audience ‘gets’ what they are trying to do. You have a really extraordinary festival and we really appreciate being part of it.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Film freeway is flawless! It os the machinery that makes so much possible in the indie film world.
10. What is your favorite meal?
Anything with family around the table.
11. What is next for you? A new film?
Yes, there are several in the works and I am working on refining our stop frame hybrid technique for larger productions.
ROOM OF MEMORIES, 2min., Australia
Directed by Suniva Maya Miller
The story of heartbreak told from the memory center of the brain.
https://instagram.com/caffeinated_dream_dream
Get to know the filmmaker:
1. What motivated you to make this film?
It was my first ever animated film that I developed during my first year of university. For some reason I had this feeling that I had to make something so emotional and deep. At the time I had just been through a pretty rough breakup with someone who I had been friends with for much longer. So I wanted to write and make something that would reflect the complicated emotions I had surrounding this person and our relationship.
2. From the idea to the finished product, how long did it take for you to make this film?
The idea initially formed itself in March 2023 and finally had a developed script by around June. After that I created storyboards and a production schedule for when I started the animation in September and completed everything in November 2023.
3. How would you describe your film in two words!?
Love and heartbreak.
4. What was the biggest obstacle you faced in completing this film?
Initially this film was supposed to be a minute long, however I found that the story really required to be longer in order to be as impactful
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I thought that a lot of it was quite on track and I’m glad that despite being quite short the message of the film came across. I noticed that despite the implications of the girls having shared a romantic relationship however I understand that might not have come off as strongly as I would have hoped. Either way, however people interpret their relationship, the story still fits.
6. When did you realize that you wanted to make films?
When I was twelve I realised how much love I had for telling stories and exploring all these different ideas and emotions. I especially had a love for drawing and making comics, so then I decided that I wanted to go into film making and animation.
7. What film have you seen the most in your life?
This would probably be a tie between so many films, but I would say that either Back to the Future or Coraline. I have studied these movies endlessly.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Honestly this has been such a great experience as one of the first festivals I have ever submitted to and been accepted. I don’t have much experience with festivals so I’m not sure how to improve them.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I really love using FilmFreeway, it’s such a great tool for exploring all sorts of festivals at the touch of a button.
10. What is your favorite meal?
Gnocchi al ragù d’anatra (gnocchi with duck ragu).
11. What is next for you? A new film?
I have already started developing a new film for my second year of animation at university.
Synopsis:
A surreal experimental animated allegory of the cyclical rise, fall and evolution of social order.
Review by Parker Jesse Chase:
Epicycle, an experimental animated short film, takes audiences on a surreal journey through the cyclical nature of social order, using a mesmerizing blend of animation and allegory. This unique creation is an exploration of the rise, fall, and evolution of societal structures.
The film opens with gears in motion, accompanied by the rhythmic sounds of ticking of a clock, creating a sensation of time itself slowing down. The close-up of interconnected gears gradually pulls back to reveal an entity on a hoverboard, adorned with a face reminiscent of a plague mask. This character traverses in what appears to be a museum or gallery, emphasizing the cyclical nature of human existence. The gears continue to persist as the film transitions to pawns on a chessboard, symbolizing an almost robotic cycle of life. The entities within the animation seem to be going through the motions, akin to the routine viewing of art in a gallery.
The ticking gears merge with the same tempo of a heartbeat, immersing the viewer to a reflective state of mind.
The film’s color palette adds onto the surreal and bilateral element, enhancing the overall immersive experience. The gears, noise, and surroundings create an allegorical ambiance, mirroring the way one can become absorbed in a museum. A quick zoom behind the eye offers a glimpse into the soul, shifting the gallery’s perspective and connecting the audience with the essence of human nature.
Epicycle is a visually captivating and thought-provoking journey through the cycles of social order. Its experimental nature, combined with allegorical storytelling and vibrant animation, makes it a unique and engaging viewing experience. The film successfully prompts reflection on the interconnectedness of humanity and the art that reflects our shared experiences.
Film directed by Deb Ethier
Project Links
Dean DeBlois, Cressida Cowell (based upon the “How to Train Your Dragon” book series by)
Two years after the first sequel, Toothless the dragon and Hiccup the dragon trainer , along with their fellow dragon riders and friends, continue to rescue captured dragons in order to bring them back to Berk and create a bustling dragon and human utopia. Unfortunately, their efforts have also resulted in the island becoming severely overpopulated with dragons. In a response to the overcrowding, Hiccup desires to find the “Hidden World”, a safe haven for dragons that his late father Stoick told him about. Meanwhile, a white Fury dragon, held captive by warlords, is given to infamous dragon hunter Grimmel the Grisly as bait for him to capture Toothless for the warlords’ use as an alpha.
Toothless discovers the white Fury (dubbed a “Light Fury” by Astrid) in the woods and the two quickly become enchanted with each other until the Light Fury, sensing Hiccup’s nearby presence, flees. Hiccup and Tuffnut later discover Grimmel’s dragon traps in the area. Grimmel visits Hiccup that night, but Hiccup has prepared an ambush to capture him; Grimmel escapes, burning down Hiccup’s house and part of Berk in the process. In response, Hiccup rallies the citizens and dragons to leave Berk on a quest to find the Hidden World and safety from dragon hunters.
The rest of the plot is silliness and uninspired writing from director DuBlois. There is the climatic fight between Grimmel and Hiccup while Fury and Toothless fall in love. The Hidden World is now the place the dragons reside without their masters, now humans and dragons in their own worlds till the next sequel.
What is lacking in plot an story is more than made up by special effects and solid animation. Often there is too much going on-screen than meets the eye. The film is best seen in 3-D IMAX but the screening I saw was in normal 2-D. Still the film looks stupendous. The humour is only slight and could do with a lot more funnier. The dialogue comes off as ‘cute and amusing’ at best.
Jay Baruchel does a good voice characterization as Hiccup as does F. Murray Abraham as the villain Grimmel. But the best of all voices come from comedienne Kristen Wiig as the annoying Tuffnut. The dragons do not speak so no voices from Toothless or Fury. The filmmakers seem to oddly love the Vikings speaking with a Scots accent.
The film turns too romantic and sappy, especially with two twin romantic couples – Hiccup and Astrid and the dragons Toothless and Fury. The dragon matingis overextended and silly. Worse still, the film goes on several years into the future when each couple show up complete with overcute offspring.
The film will likely take over the box-office #1 spot this weekend. The film has already broken even making $175 million internationally at the time of writing, more than its $129 million budget and it has not even opened in North America.
An American four minute animation, THE LONGING RITUAL is really a piece about visual design and graphic aesthetics. The film is composed of a basic series of repetitive shots- similar colors, shapes and designs, set against a series of motifs of the natural world, such as flowers or a person running. The effect is graphic design turned cinematic. The creation of, and circulation of the natural world embedded against the geometric world. Visually tantalizing and unique, THE LONGING RITUAL does not leave its meaning blatantly obvious. It is rather, an expression of textures, designs and colors intermingled with elements of the natural world. A contemplative piece about the world we live in, and the space our art takes up within it.
Review by Kierston Drier
Watch the Audience FEEDBACK Video of the Short Film:
| THE LONGING RITUAL, 4min., USA, Experimental/Animation Directed by Scott TurriMost recently, in my latest series The Longing Ritual the focus has been on the nature/culture continuum, in particular the search for real experience and a connection to the natural world CLICK HERE – and see full info and more pics of the film! |
This bright, happy musical number is full of starlight and technology. Literally. When the city goes to sleep, the technology that monitors the heavens comes to life. This three minute animated comedy is joyful romp through music and memory. Coming to us from the USA, the piece follows observatories, satellite dishes and radio towers all joining in harmony to the song “Blue Moon.” All bookkended by some very confused evening crew monitoring the event at their seats in the station.
There are many charming things about JOY BLUE MOON. One is that is uses a dated song and blends it with moderns technology, creating a lovely blend of old-and-new to create something lively and entertaining. Another, is that the animation somehow manages to capture a feeling a joy within the context of the technological pieces it uses as actors. The “actors”, the observatory, the satellite dishes, don’t have mouths, or even animate in a human-like way, yet they use what moveable parts they do have to give the impression that they are not only singing, but engaging in a chorus all their own. Away from humanity they sing to each other and for each other- a secret world of music under the stars.
Fun, fantastical and full of light hearted musical effervescence, JOY BLUE MOON is not to miss.
Review by Kierston Drier
Watch the Audience FEEDBACK Video of the Short Film:
| JOY! BLUE MOON, 3min., USA, Animation/Music Directed by John VollmerMusic and images intertwine for a joyful experience. CLICK HERE – and see full info and more pics of the film! |
Like staring at a big bowl of candy, this film offers joy, delight and enthusiasm. OUR WONDERFUL NATURE is a three minute German animation in a mock-documentary style about the ravenous and foolhardy cameleon.
Brimming with physical comedy, polished images and laugh-out-loud moments, OUR WONDERFUL NATURE is packed with lush humour and frame-by-frame comedy. A film to engage and delight every viewer, this piece is like eating a huge slice of cake! Thankfully for the viewer, our eyes aren’t going to be too big for our stomach- the same can’t be said for our dear Chameleon.
Review by Kierston Drier
PLAYED at the January 2018 EUROPEAN Film Festival.
WATCH the Audience FEEDBACK Video:
| OUR WONDERFUL NATURE, 3min., Germany, Animation Directed by Tomer EshedThe feeding habits of the common cameleon as never seen before. CLICK HERE – and see full info and more pics of the film! |
A bright and unique animation, this four minute UK film brought to us by director Oscar Lewis tells a deeply moving story. An artist retells his childhood memories through simple and vibrants animations- softened and slightly surreal, the way distant memories often feel. Poetic and interpretive in nature, the film appeals to a love of high contrast. On one hand, the bright, youthful images dance carefree in the minds of the viewers- on the other hand, the adult recounting these memories seems to hint at a darkness that lurks within him- sometime after these early memories, sometime before his current point.
Laced with occasionally ominous undertones, but still managing to captures the purity and innocence of youth THE WAVES is a love letter to childhood. It is a short film that carefully wraps up memory and tucks it safely away from the harsh realities of adulthood. A deep and compelling animated film.
Review by Kierston Drier
PLAYED at the January 2018 EUROPEAN Film Festival.
WATCH the Audience FEEDBACK Video:
| THE WAVES, 4min., UK, Animation Directed by Oscar LewisAn artist returns to his work after suffering a mental breakdown. CLICK HERE – and see full info and more pics of the film! |
This two minute short is a delight for young and old alike. BARRY THE BLOBFISH, an American film directed by Marleia A Alfaro is simple and effective, delivering its’ story with heart and ease.
Barry, our melancholic blobfish at the bottom of the shallow sea floor can’t get to the top reef no matter what he does. Depressed that he can’t get to his friends, he begins to cry- but then his friends come to him.
A simple and sweet story with a strong message for any one- we are always better when we work together.
Short Film played at the ANIMATION FEEDBACK Film Festival in December 2017
Review by Kierston Drier
| BARRY THE BLOBFISH, 2min., USA, Animation Directed by Marleia A. AlfaroBarry is a fat ugly fish that can’t swim and lives at the bottom of the ocean. He longs to live on a beautiful coral reef at the top of a tall, tall cliff. CLICK HERE – and see full info and more pics of the film! |
Festival Reviews 