| Annemarie Szeleczky | Australia
Animation in its purest form. Our annual collection
of the most impressive and expressive abstract and experimental
animated films from all over the world.
The international programs are the backbone
of the whole MIAF mission. Somehow we’ve emerged from
under the pile of 2,350 entries with enough strength and wits
intact to put together a series of programs that showcase
the best 200 or so new films. Five ‘general’ International
Competition Programs, our ever popular ‘Abstract Showcase’
and ‘Long Shorts’ programs,
PLUS an entire competition program of new 3D
> International Program #1: Sat 22
June, 7.00pm (repeats Sat 29 June, 3.30pm)
> International Program #2: Mon 24
June, 6.30pm (repeats Sat 29 June, 5.00pm)
> International Program #3: Wed 26
June, 6.30pm (repeats Sat 29 June, 6.30pm)
> International Program #4: Fri 28
June, 6.30pm (repeats Sun 30 June, 4.00pm)
> International Program #5: Sat 29
June, 6.00pm (repeats Sun 30 June, 5.30pm)
> International Program #7 –
Long Shorts: Wed 26 June, 8.15pm
> International Program #8 –
3D Stereoscopic Shorts: Sat 22 June, 8.30pm
Already Know What I Hear /
Ja Vec Znam Sto Cujem
Director: Darko Masnec
Producers: Vinko Bresan, Academy of Fine Arts, University of
CROATIA, 5'00, 2012
Communication is a gap that I can sense
between the things I’m unable to say. But this gap is
not an empty divide; it is a space that fills itself.
Director/Producer: Guusje Kaayk
HOLLAND, 2'39, 2011
Inspired by the eponymous jazz of Eric Vloeimans-Gatecrash,
Jailbreak whimsically bursts forth as a series of interconnected
pentagons, each with their own identity.
Director/Producer: Paul Fletcher
AUSTRALIA, 6'23, 2013
A roiling, surging wall of colour and densely
packed imagery. Perhaps the most colourful and technically complex
of Fletcher’s films to date.
Director: Max Hattler
Producers: Max Hattler, Animate Projects
UK, 3'00, 2012
Using the New Age idea of a 'dimensional
shift' as inspiration, Shift combines science fiction themes
through abstract, stop-motion animation of objects and colour.
Director: Jeanette Bonds
Producer: California Institute of the Arts
USA, 2'40, 2012
A wonderful visual enigma extrapolated from
a 15 ft film loop of animated scratch film, shot not frame-by-frame
but created incrementally, one millimeter at a time.
Director: Kyle Mowat
Producer: Sheridan College
CANADA, 1'45, 2012
A fascinating circus of millions of amazing
little made-up, super-colourful creatures caught in the random
dance of life as they know it.
Director/Producer: Stephen Campbell
USA, 1'12, 2011
To say that Bartok was an artist of many
facets is one thing, to see it writ large on the big screen
before your eyes is something else altogether.
Director/Producer: Annemarie Szeleczky
AUSTRALIA, 2'34, 2012
There was never any doubt we would be playing
this wonderfully bouncy and vivacious addition to the ‘Kinetics’
Director: Evelien Lohbeck
Producer: Tom Crone
HOLLAND, 1'50, 2012
When many undesired signals accumulate,
the wanted signal is suppressed and overtaken by the unwanted
noise. Let’s try to understand the signal as a whole rather
than only focusing on the wanted signal?
Director/Producer: Steven Subotnick
USA, 1'45, 2012
Three letters in search of a boy. A simple
Director/Producer: Suzan Pitt
USA, 7’00, 2013
Fast and intense, Pitt unleashes and animates
a storm of her original artwork to interpret George Antheil's
1952 revision of Ballet Mecanique.
Director/Producer: Johan Rijpma
HOLLAND, 1'16, 2012
Take one piece of paper, tear it in four,
capture that. Repeat. Repeat. Repeat. Then craft a controlled
loop off towards infinity.
Director/Producer: Peter Byrne
USA, 7'38, 2010
An inquiry into landscape, memory, movement
and flow that employs gesture, layering, randomness, pattern
and colour to evoke a fragmented sense of place.
Direct Film Farewell
Director: Oerd Van Cuijlenborg
Producer: Chris Mouw
HOLLAND, 5'39, 2012
Working directly on filmstock, Van Cuijlenborg
has created an abstract, light-footed universe in which colour,
form and movement become primary visual elements again.
Director/Producer: Johannes Gierlinger
AUSTRIA, 1'00, 2011
Using highly modified strips of live-action
film, random glimpses of the everyday get a second chance to
speak to us and exist cinematographically, the way they were
originally created to be.
Augen / Heavy Eyes
Director/Producer: Siegfried Fruhauf
AUSTRIA, 10'00, 2011
This is a film of abstraction and Neo-Expressionism.
Ghostly and mask-like faces appear and immediately disappear
again in the digital fog, eerily duplicated, electronically
Director: Ulo Pikkov
Producer: Andrus Raudsalu
ESTONIA, 5'42, 2013
It is said a dieing man sees his life racing
before his eyes. What does a 100-year-old film strip see before
it gives way to the digital realm? Broken frames, scratched
filmstock or something else?
The Sun Turns Into Juice
Director/Producer: Steven Woloshen
CANADA, 1'44, 2011
Inspired by Woloshen’s four-year-old
daughter’s metaphor for a sunset and originally created
as an art gallery installation housing a 200-foot-long acrylic
filmstrip painting, this is the perfect way to close the program.
no dialogue / S = subtitles