Notice [BIAF2024 Program] Comments of Short Film Selection Committee 2024-08-01 13:41
IM Chaerin
Creating hand-drawn or stop-motion animation is a labor-intensive, effortful, and capital-demanding process. Therefore, works produced in Europe, where artists receive ample economic support and overall welfare is robust, stood out in terms of overall quality. Nevertheless, I've observed a rise works created by clever students from Asia, following the work from Taiwan that won last year's Grand Prize I envision a fair and just future where not only a handful of people with privileges and money but also those who are currently marginalized can enjoy and create the genre of animation.
KIM Somi
Stop-motion animations that transcend eras and works showcasing a profound understanding of analog and tactile storytelling shone brightly. These pieces evoked nostalgia while achieving a captivating harmony of visual creativity and rich ideas. Daring works that pushed the boundaries of experimental film and animation stood out, while those that favored popularity and familiarity seemed somewhat lacking in style and technique. Overall, European animations were strong this year, making me wait for the bounce of Asian animations.
LEE Eunhwa
This year's submissions included a wide range of sensitive topics, including feminism, environmental issues, and war and peace. While the interest in cooperation, community, and environmental concerns was consistently represented, there was a distinct increase in the number of works that specifically addressed the sense of belonging as equal organisms and the interdependence between individuals. A few works highlighted ongoing large-scale violence, focusing on conflicts like those between Russia and Ukraine and Israel and Palestine. Among the political and social topics, works that demonstrate a close connection between subject matter and expression, as well as a strong sense of urgency and conceptualization, were selected with priority. In the era of artificial intelligence, several works stood out for their futuristic ideas, with a keen eye on the originality of storytelling and composition. Although there were fewer works dealing with self-discovery and healing than in previous years, it was impressive to see that most works shone with an active resolve ahead of sentimental appeal.
Eugene KIM
As reporter Kim So-mi of Cine21 joined as Selection Committee member in addition to existing 3 members, we had the privilege of previewing highly anticipated new works from around the world from March to July. We are proud to present the best of the best at BIAF 2024 including the works with BIAF’s unique flavors, winners of the Short Film Grand Prize at Annecy International Animation Film Festival BIAF, the latest competition titles from Berlin, Cannes and Venice International Film Festivals as well as world premiere Paranoid Kid by Korean director Yumi Joung. We have great respect and gratitude for the directors and distributors who submitted their films.
Creating hand-drawn or stop-motion animation is a labor-intensive, effortful, and capital-demanding process. Therefore, works produced in Europe, where artists receive ample economic support and overall welfare is robust, stood out in terms of overall quality. Nevertheless, I've observed a rise works created by clever students from Asia, following the work from Taiwan that won last year's Grand Prize I envision a fair and just future where not only a handful of people with privileges and money but also those who are currently marginalized can enjoy and create the genre of animation.
KIM Somi
Stop-motion animations that transcend eras and works showcasing a profound understanding of analog and tactile storytelling shone brightly. These pieces evoked nostalgia while achieving a captivating harmony of visual creativity and rich ideas. Daring works that pushed the boundaries of experimental film and animation stood out, while those that favored popularity and familiarity seemed somewhat lacking in style and technique. Overall, European animations were strong this year, making me wait for the bounce of Asian animations.
LEE Eunhwa
This year's submissions included a wide range of sensitive topics, including feminism, environmental issues, and war and peace. While the interest in cooperation, community, and environmental concerns was consistently represented, there was a distinct increase in the number of works that specifically addressed the sense of belonging as equal organisms and the interdependence between individuals. A few works highlighted ongoing large-scale violence, focusing on conflicts like those between Russia and Ukraine and Israel and Palestine. Among the political and social topics, works that demonstrate a close connection between subject matter and expression, as well as a strong sense of urgency and conceptualization, were selected with priority. In the era of artificial intelligence, several works stood out for their futuristic ideas, with a keen eye on the originality of storytelling and composition. Although there were fewer works dealing with self-discovery and healing than in previous years, it was impressive to see that most works shone with an active resolve ahead of sentimental appeal.
Eugene KIM
As reporter Kim So-mi of Cine21 joined as Selection Committee member in addition to existing 3 members, we had the privilege of previewing highly anticipated new works from around the world from March to July. We are proud to present the best of the best at BIAF 2024 including the works with BIAF’s unique flavors, winners of the Short Film Grand Prize at Annecy International Animation Film Festival BIAF, the latest competition titles from Berlin, Cannes and Venice International Film Festivals as well as world premiere Paranoid Kid by Korean director Yumi Joung. We have great respect and gratitude for the directors and distributors who submitted their films.