1. An animated short film, narrated by two asylum-seeking men detained in Australia's Manus Island Offshore Processing Centre, recounting the dangerous journeys that brought them to the island and their memories of the riot that erupted in 2014.

    For French, Spanish, Italian, German, and Portuguese versions please visit 99.media


    In July 2013, the Australian Government introduced a controversial immigration policy, transferring asylum seekers arriving by boat to remote offshore detention centres on foreign Pacific islands. Seven months later, the Manus Island centre erupted in violence when police and guards put down protests with sticks, machetes and guns, and 23 year-old asylum seeker Reza Barati was killed.

    We spoke to Behrouz and Omar, who are currently detained on Manus Island. This film contains recordings of these conversations.

    WINNER: Best Short Documentary, Melbourne International Film Festival 2015
    WINNER: Best Animated Short Audience Award, Nashville Film Festival 2017
    WINNER: Audience Award for Short Film, Human Rights Arts and Film Festival 2016
    WINNER: Theme of Festival Award, Realtime Film Festival 2017
    WINNER: Folegsong Foundation of the USA award, IFOLT 2017
    WINNER: Audience Award, Fear No Film / Utah Arts Festival 2017
    WINNER: Best Short Documentary, Young Jury, Festival International Du Film Insulaire De Groix
    NOMINATED: Best Animation, Raindance 2015
    SPECIAL RECOGNITION FOR ANIMATION: San Francisco International Short Film Festival 2015

    OFFICIAL SELECTION: Anima Mundi 2017
    OFFICIAL SELECTION: Palm Springs Shorts Fest 2015
    OFFICIAL SELECTION: British Animation Film Festival 2015
    OFFICIAL SELECTION: Interfilm, Berlin 2015
    OFFICIAL SELECTION: Darwin International Film Festival 2016
    OFFICIAL SELECTION: La Scatola Blu Film Festival 2016
    OFFICIAL SELECTION: 2Annas Film Festival, 2016
    OFFICIAL SELECTION: Inte Cinema Festival 2016
    OFFICIAL SELECTION: Cinéma Le Méliès, September 2016
    OFFICIAL SELECTION: Hearth of Gold Film Festival, 2016
    OFFICIAL SELECTION: Festival de Cinéma de Douarnenez 2016
    OFFICIAL SELECTION: Stuttgart International Festival of Animated Film 2016
    OFFICIAL SELECTION: Muestra Internacional de Cine de Palencia 2016
    OFFICIAL SELECTION: Forum Visages, Nantes 2016
    OFFICIAL SELECTION: Festival International Du Film Ethnographique Du Québec 2017

    Directed and Produced by Lukas Schrank
    Character Artwork by Luke Bicevskis

    Executive producers
    Carly Bojadziski | Gilbert Caluya | Neil Holden | Peter Murphy | Kevin Roberts | Lucy Best

    2D Character animation
    Lukas Schrank | Marisa Rossi

    Matte painter
    Himashis Karmakar

    3D character rigging and animation
    Elmer Frihdson Ona | Melvin Riego

    3D face modelling
    Edgar Marocsek

    Production Design
    Lukas Schrank

    Music Composed by
    Ian King

    Sound design and mix by
    Nick Ryder at Bamboo Audio

    Daniel Stonehouse at Crayon

    Creative consultant
    Peter Savieri

    Chris Ward

    Hossein Babaahmadi

    Emma Koster

    Soraya Dean
    Miguel Oyarbide

    ‘Gnossienes 1’
    Written by Erik Satie
    Performed by Carl Banner

    # vimeo.com/152158702 Uploaded 82.9K Plays 47 Comments
  2. The beauty of being able to watch the full talks from Design Indaba Conference at your own pace is demonstrated beautifully in this performance-lecture by William Kentridge. It is a rich and complex foray into his creative process, during which he both talks about – and demonstrates on stage – the power of association and creative thinking. Watching the talk on video is a rare opportunity to unpack what Kentridge is saying – and offers a ticket to understanding how he conceives and constructs all his artistic output.

    At first listen, Kentridge’s lecture may sound like an exercise in surrealist word association, so intricate and multi-layered that you sense the meaning is in there somewhere, if only you could dig your way through. But listen slowly; pause, rewind and listen again; and his points become thrillingly clear.

    I am trying to follow the thoughts wherever they go and resist the attempts to make an argument, Kentridge says.

    He describes his studio space in Johannesburg – the context and surroundings that influence his train of thought while he works. The drawings of peonies in a vase, paintings of birds, a tree in the garden are stimuli that set off a host of memories and sensations that invade his thoughts. They are “reminders of the things you are not focussed on”. They make up a peripheral vision that is akin to peripheral thoughts. Paying attention to these is what ignites his creative process.

    “Let it be said that focussing on a single thought is not something I am very good at but I have to try to rescue this shifting of attention,” he admits. “I latch onto any stray thought that can put off the idea of having to think coherently about what must be said today,” he says in reference to the lecture he is giving.

    “A kind of procrastination but a productive procrastination I hope nonetheless.”

    He traces his associations of looking at a tree – a white stinkwood in his garden – to illustrate “the porousness of focus”.

    Every encounter in the world is a mixture between that which the world brings towards us – the tree ­– and that which we project onto it.

    “A tree is never just itself.”

    Kentridge then shows how this associative way of working applied to his upcoming exhibition in Beijing, Notes Towards a Model Opera. His starting points were Chinese revolutionary posters with their proletarian slogans and the propagandist operas produced during China’s Cultural Revolution. This was followed by improvisations with longtime collaborator and dancer Dada Masilo combining Chinese models of dance with African performance.

    Watch through to the end for a final, aural (and visual) treat. Kentridge invites the team of musicians from his opera Refuse the Hour onto the stage for a giant practice session where they test some ideas for his Beijing production of Notes Towards a Model opera – footage of Dada dancing, animated drawings

    # vimeo.com/129526429 Uploaded 1,372 Plays 0 Comments
  3. # vimeo.com/66485044 Uploaded 14K Plays 0 Comments
  4. Alessandro Bavari: Camera Tremula 1, Noise Melange, XYZ Ocula Depth
    Fulvio Sturniolo: Camera Tremula 2
    Jeff Ensign aka Evolution Noise Slave: Sonic Harmonium

    Format: Pal Widescreen 1050x576
    Duration: 8:27 mins

    - Golden Nica at Prix Ars Electronica 2011.
    - Special Award IED at Skepto International Film Festival.
    - Best Experimental Film at the 2nd Stortford Film Festival.
    - Best Direction Prize at the Cinemavvenire Video Festival.
    - 1° Prize Art Lab at the Festival Internazionale del Cinema d'Arte.
    - 1° Prize ex aequo at the Corto Dorico Short Film Festival + a Special Mention Prize.
    - Best Design Prize at the 13th Animation Film Festival Animated Dreams.
    - Finalist as Best Direction at the Animago Award.
    - Finalist at the Bolzano Short Film Festival.

    Metachaos, from Greek Meta (beyond) and Chaos (the abyss where the eternally-formless state of the universe hides), indicates a primordial shape of ameba, which lacks in precise morphology, and it is characterized by mutation and mitosis.
    In fact the bodies represented in METACHAOS, even though they are characterized by an apparently anthropomorphous appearance, in reality they are without identity and conscience. They exist confined in a spaceless and timeless state, an hostile and decadent hyperuranium where a fortress, in perpetual movement, dominates the landscape in defense of a supercelestial, harmonic but fragile parallel dimension. In its destructive instinct of violating the dimensional limbo, the mutant horde penetrates the intimacy of the fortress, laying siege like a virus. Similar to the balance of a philological continuum in human species, bringing the status of things back to the primordial broth.

    METACHAOS is a multidisciplinary audio-visual project, articulated in a short film, a set of photography (alessandrobavari.com/english/Metachaos-photographies/gallery_Metachaos-photographic_series.htm) and mix-technique paintings. The purpose of the project is to represent the most tragic aspects of the human nature and of its motion, such as war, madness, social change and hate. An accretion of feelings that are metaphorically represented by specific visual forms, which are abstract conceptually, but concrete and tangible formally. The application of acid and monochromatic tints, besides the strong contrasts, makes everything intentionally more oppressive and tragic.

    In order to obtain a more immersive and plausible version, the shot was taken adopting the camera live technique. The extreme and frenetic motion of the shoulder camera, similar to the subjective one, becomes a main constant, so that, along with the persisting cuts used to edit the video, create a bigger sense of instability and danger. In fact, thanks to the dissemination of Technology, it is possible to notice that the unconscious-esthetic potential of the shots available on Youtube, characterized by a pseudo-documentary and amateur approach, often offer an unexpected emotional involvement, which trigger an exhibitionistic-voyeuristic interchange between the author and the consumer.

    The irrational gesture and action of the bodies, as if a collective form of madness controlled them, are inspired by artists like Bosch and Bruegel who, between the ‘400 and ‘500, produced an iconography where irrational images show sickly madness and pain.

    The project has been realized using different techniques: live shots taken in discharged industrial sites, CGI animations, tracking and motion captures, besides various other analogical ones.

    American Jeff Ensign, aka Evolution Noise Slave composed the original sound track, which has been progressively updated during the video production. The musical score was inspired by 6 separate pieces Jeff had previously created that were then combined into a hybrid. The composition was also based in part from a sonic interpretation of the ideas presented in Antonin Artaud’s the Theater and Cruelty overlaid on Bavari’s images.


    Alessandro Bavari’s “Metachaos” is an impressive display of the amazing graphics that can be produced with leading-edge hardware and software. The 8-minute clip begins with a sequence of clear, geometric forms that suggest a serene world. But it doesn’t take long until it’s apparent that this was just the calm before the storm. Shadowy creatures and shockingly grotesque figures intrude into this domain rendered in black & white and sepia tones and rip it to pieces. Using the interplay of light and shadow, intentionally shaky camera movements and quick cuts, Bavari takes us on a tour de force through an unsettling imaginary cosmos that grips viewers and doesn’t let them loose. In addition to its extraordinary visuals, “Metachaos” features an impressive composed soundscape of incredibly concentrated intensity—noise elements paired with driving beats, panic-stricken screams, the rattling of bones and gale-force winds.

    While some of as did not necessarily share the apocalyptic view of this film, we found that it left the most indelible impression. Narrowly passing through the first round, it grew on us, so that on repeated viewing it miraculously made its way to the top.
    What starts as a cinematic, kinetik, yet clean field of geometry and bodies, gradually evolves, or devolves, into the artist’s vision of a nightmarish black-and-white world created by a continual collision of the human and the architectural form. It finally culminates in a screaming dance among the ruins. In a impressive virtuoso tour de force, Alessandro Bavari creates a constant mêlée of grime, projectile muck and dust among collapsing spaces at the stage for metamorphosing human bodies with branching limbs that seem constantly to break the architectural environment apart. Zombies with missing limb sand decaying skin and faces sometimes stand around listlessly and other times appear to engage in orgasmic sex. The human forms become insect-like and multiply in hordes across the building forms. Dust particles and snakes of turbolent, ferrous liquid finally explode into an apocalyptic ocean of flotsam and sludge.
    Bavari’s few collaborators helped shape what the credit call “camera tremula” (shaky, documentary-style camera) and sound design. We commend his dedication to a singular artistic vision that is grounded in his practice as a photographer. This is a representation of a caustic end of the world, a world of a audible pain and hopeless destruction rendered with a disturbing reference to 80s-style computer-generated animation as well as 60s “actionism”.

    # vimeo.com/16056709 Uploaded 364K Plays 185 Comments

film/ animation

Tatiana tavares

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