Director Biography – Leigh Bloomfield (STARLIGHT)

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Leigh Bloomfield is a writer, director, visual artist and a co-owner of Leap Productions based in London, England.

Leigh recently filmed and edited the BBC2 TV series “The Retreat with Nick Knowles”. The show was received with great reviews and high ratings, and will later this year be having it’s second run on Netflix.

Commercially Leigh has worked as editor on the UK Nintendo Switch campaign. It consists of adds showing the console being used by anyone, anywhere and at anytime.

Leigh’s other credits as camera man and producer include the short film “Box Therapy”, this won Best National Short’ at the Making Waves film festival.

With a strong background in painting and photography, Leigh uses mixed media, to tell stories.

Leigh grew up in the south west of England in Torbay, where he attended South Devon College of Art and Design. Then went onto higher education at Wolverhampton university where he studied BA in Electronic Media and a Masters in Media and Animation.

Short Film: STARLIGHT, 4min., UK, Experimental

Starlight

A story of the beauty of nature.

Project Links
  • Film Type:
    Experimental, Short, Other
  • Runtime:
    3 minutes 53 seconds
  • Production Budget:
    2,000 USD
  • Country of Origin:
    United Kingdom
  • Country of Filming:
    Sweden
  • Shooting Format:
    Canon 5K raw stills
  • Aspect Ratio:
    16:9
  • Film Color:
    Color

Short Film: DESERTED EYES, 3min., Greece, Animation

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Deserted Eyes is a song, animated music video and WebGL project by the Greek multi-instrumentalist Oh. (Olivia Hadjiioannou).

The song takes the listener beyond the vicissitudes of relationship and love – beyond the criteria of reciprocity and togetherness.

It casts a light on the individual within the relationship rather then the relationship itself. Expressing how one’s state of mind — if left unchecked and allowed to settle too long in dark and despondent moods —eventually wears away at the soul of the other — casting an immutable spell unwittingly upon the one you love.

The video was filmed during the late summer of 2017 in Greece where a tragic oil spill occurred causing an ecological disaster in the waters of the Saronikos and irreparable damage to the interpersonal relationships of the coastal community.

During post-production, we could not ignore the correlation that tragic event had to the song and so incorporated the visuals into the final clips.

The music video was created with traditional hand-drawn, 2D, 3D and motion graphics. The project also includes an innovative online WebGL experience embedding YouTube video, music players and animated elements to create a 3D web experiences using three,js.

https://olitunes.com/worlds/webgl2/chapters/desertedwebgl.html

 

News & Reviews

Short Film: AMOR TI VIETA, 2min., Canada, Animation

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AMOR TI VIETA, taken from act II of the Italian opera Fedora. This piece was first performed back in 1898 in Milan, Italy. Fedora is an opera in three acts by Umberto Giordano to an Italian libretto by Arturo Colautti, based on the play Fédora by Victorien Sardou.

This music video is a stop motion animation portraying the story of this beautiful opera. KAJART and Shahrad Fredotti decided to focus on the most dramatic part of the story, portraying it in a very notable and artistic manner. In this scene Ipanov (the singer) declares his love for Fedora. He confesses to Fedora that it was he who had killed her husband, Count Vladimir.

Project Links

Short Film: TIENAS, 18TH DEC, 3min., USA, Music Vide

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Debut music visuals for angst-ridden, urban track ’18th Dec’ by Mumbai-based rapper Tienas, aka Bobby Boucher — self named on account of a speech impediment he was born with, which incredibly disappears whenever he raps.

News & Reviews

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Director Biography – Martin Ponferrada (EVERYTHING IS UPSTREAM)

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Born in the provinces of Central Philippines, Martin Ponferrada was brought to Australia in the early 90s by his parents. While studying, he worked as a red carpet cameraman and upon graduation wrote and directed several spec scripts and self-financed indies which have been screened at festivals all over the world. Accomplishments include a first place genre prize at the StoryPros Awards, the Grand Prize at the California Film Awards, second runner-up at the Domani Visionfest and more. “Upstream” represents Martin‘s first creative endeavour into animated filmmaking.

Filmography: http://www.imdb.com/name/nm3622306/

Director Statement

I should start this director’s statement by giving you, those who are about to watch this strange film, a sense of what you are about to see. It is a film about dreams that also holds the inverse: a dream about film – and not only that, but sketch and newsreel too. For me, there has always been something oddly dreamlike about flickering newsreels on old projection screens. But whatever this is, it means the world to me. It is a sincere exercise of light and movement, which, like most art, takes as its concomitant the exposure of some kind of truth through the depiction of some kind of lie. Though in Buddhism, I quickly learned that the absence of truth does not make a lie. The absence of truth makes a dream – one we all live in and call truth. But we do not know we are in this dream for the same reason fish do not know they are in water. Awareness of the essential, no matter how obvious, is not so easily attained when perception is inevitably reduced by one’s various doings. Or something like that. Basically, we can no longer distinguish life from the tasks we present ourselves while living; but these tasks are no more life than they are attempts at grasping, and so we get stuck evaluating life by how well we grasp, attaching happiness on a measure of things grasped against things ungrasped. But this is not living. This is grasping. And if the grasp does not matter, then what of the things we grasp? They are formless. Like apparitions, they are without essence. They are empty and emptier still in our attempts to grasp them, and yet grasp we still do, and we call this grasp life.
So concrete is this state that to be aware of it is often said to be like waking from a dream… All the more alarming, then, that this is the air monks breathe. Studies have shown that Buddhist monks presented with optical illusions reacted with a higher level of clarity and were able to control the speed at which information entered their thoughts. This made them adept at sifting the reality from the illusory, that is, the living from the grasping. Learning this, I came to wonder what visuals would emerge were such monks to aim this clarity on themselves. Four interviews later, I had listened to four elegant dreams. Elegant not in their composition but in their spiritual review, their capacity for reflection, their lack of nonsense as would otherwise be expected from more cluttered minds (like my own). But there was also darkness. An undeniable bleakness that did not fit in with the idealized magic I originally set out to depict. Drownings, fallings, deaths – all dark and terrifying, yet the frankness with which this terror was communicated lent itself an air of stark balancing, like there was no difference between the dreams we experience in sleep and the state of perennial grasping we call life – and to be woken from each is to leave behind a world of highs and lows, the grasped and the ungrasped, and realize that none of it was ever really there. Mind blown. This is the engine of our film. “Upstream” comes upon us in a burst of flame and is wiped from view with the dropping of blinds. It begins with “My parents tell me not to worry”, and ends with, “It’s a dream”.

Short Film: EVERYTHING IS UPSTREAM., 10min., Australia, Animatio

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Part animation and part documentary. Buddhist monks from around the world offer vivid descriptions of their dreams, which are then brought to life through detailed rotoscope.

Project Links

Director Biography – Ian McGillivray (APPREHENSION)

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Ian McGillivray is a short film director/producer who completed his Advanced Diploma in Broadcasting & Film at Centennial College in 2017. He has been in the industry for just over a year with experience producing several short films such as Man on the Bench, in 2017, and music videos for Toronto indie artists. Ian co-founded his production company Lost in Nostalgia, based in Toronto Canada in late 2016. Apprehension is his directorial debut outside of education, which will be the stepping stone for his path as a young artist.

Director Statement

Apprehension is very much a personal project that has provided a backdrop for my personal struggles with anxiety. My goal was to portray anxiety in its different forms when it’s at its worst to when it’s most mellow.

The characters of my films have a consistency to struggle with trauma on either a psychological or physical level. I wanted to visually represent the feelings of my anxiety through the face of a woman to show the fragile beauty of Apprehension. This represents a very relatable subject to many.

Dance Film: PORCELAIN, 5min., UK, Dance

A73712e125 posterA table, two chairs, some teacups… a lifetime together… Porcelain.

A story of love…. life and its many changes, meeting, sharing, caring, dependency, and loss.
A couple show their story of how the strength of their relationship informs the way they adapt and accept a change brought on by a serious health issue.

  • Film Type:
    Experimental, Short
  • Runtime:
    5 minutes 20 seconds
  • Completion Date:
    November 8, 2017
  • Production Budget:
    1,000 GBP
  • Country of Origin:
    United Kingdom
  • Country of Filming:
    United Kingdom
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color

Director Biography – Angèle Methangkool-Robert (MOVEMENT NEVER LIES)

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Hi, I am a french young artist of 22 years old.

I am practicing dance and drawing since I was a child.

I began to study applied arts in high school.
Then I moved to Paris to learn Print Graphic Design.

After my degree, I decided to allow more importance for dance in my life.

I am now student in a professional dance school in Montpellier (France), learning how to become a contemporary dance teacher.

Director Statement

With my short movie “Movement Never Lies”, I wanted to explore how to combine dance and graphic design – and show that it is possible.

A dance floor as a giant canvas and my own body as a paintbrush. With this project, I wanted to explore transdisciplinarity in art, by making a parallel between dance and calligraphy. In both domains, the movement is the most important.

To draw a beautiful letter, the calligrapher must have a perfect hand gestural. More generally, gestural that we can see in any hand writing is telling something from the one who wrote it.
Dancers are telling things with body, gestural, and movements. The way someone is moving are telling a lot about him.

To support this reflexion, I have decided to use a citation of the choreographor Martha Graham : “Movement Never Lies”.