The best thing George Lucas ever did "Star Wars" was, well, create "Star Wars." The second best thing he ever did was to open his sandbox to the world, allowing others to play in the universe he created, reinterpreting and adding to it. Since then, the franchise has grown from a tale of rebellion and one farm boy becoming a hero to a true epic spanning millennia, with stories and characters as varied as they come.
This is why "Star Wars: Visions" is the purest expression of the sandbox-y nature of the "Star Wars" galaxy. The first season proved that the iconography and themes of the galaxy far, far away could translate well to different art styles and different stories than what we'd seen before — it could be about robots who want to be heroes as much as it could be a rock opera. The show fulfilled the promise of...
This is why "Star Wars: Visions" is the purest expression of the sandbox-y nature of the "Star Wars" galaxy. The first season proved that the iconography and themes of the galaxy far, far away could translate well to different art styles and different stories than what we'd seen before — it could be about robots who want to be heroes as much as it could be a rock opera. The show fulfilled the promise of...
- 5/4/2023
- by Rafael Motamayor
- Slash Film
Today, Disney+ and Lucasfilm announced that the second volume of the animated anthology series “Star Wars: Visions” will premiere exclusively on Disney+ on May 4, 2023. Following on the Emmy Award®-nominated success of “Star Wars: Visions,” the newest volume will continue to push the boundaries of “Star Wars” storytelling, with nine new shorts from 9 studios from around the globe. Employing the most captivating animation styles from a variety of countries and cultures, the second volume offers a dynamic new perspective on the storied mythos of Star Wars.
Title Treatment Available Here: https://wdsprod.box.com/s/iu695c3glvbmhije79ik0zudas4rcqm0
The shorts included in “Star Wars: Visions” Volume 2 were created by the following international animation studios: El Guiri (Spain), Cartoon Saloon (Ireland), Punkrobot (Chile), Aardman (United Kingdom), Studio Mir (South Korea) Studio La Cachette (France), 88 Pictures (India), D’art Shtajio (Japan), and Triggerfish (South Africa). D’Art Shtajio’s...
Title Treatment Available Here: https://wdsprod.box.com/s/iu695c3glvbmhije79ik0zudas4rcqm0
The shorts included in “Star Wars: Visions” Volume 2 were created by the following international animation studios: El Guiri (Spain), Cartoon Saloon (Ireland), Punkrobot (Chile), Aardman (United Kingdom), Studio Mir (South Korea) Studio La Cachette (France), 88 Pictures (India), D’art Shtajio (Japan), and Triggerfish (South Africa). D’Art Shtajio’s...
- 2/4/2023
- by TV Shows Martin Cid Magazine
- Martin Cid - TV
The animated world of “Star Wars” is growing.
On Thursday, Disney+ announced “Star Wars: Visions” volume 2 will debut on Star Wars Day, May 4, and shared the incredible lineup of animated shorts in store for fans.
Read More: Christian Bale Still Wants To Do A ‘Star Wars’ Movie: ‘What A Delight That Would Be’
Films for volume 2 are being produced by acclaimed filmmakers and studios from around the world, including Aardman, best known for the “Wallace & Gromit” series, as well as Ireland’s Cartoon Saloon, South Africa’s Triggerfish, Japan’s D’art Shtajio, India’s 88 Pictures and more.
“The reaction to the first volume of ‘Star Wars: Visions’ blew us away. We were delighted that this project inspired and resonated with so many people,” said James Waugh, “Star Wars: Visions” executive producer.
“We always saw ‘Star Wars: Visions’ as a framework for celebratory expressions of the franchise from some of the best creators working today.
On Thursday, Disney+ announced “Star Wars: Visions” volume 2 will debut on Star Wars Day, May 4, and shared the incredible lineup of animated shorts in store for fans.
Read More: Christian Bale Still Wants To Do A ‘Star Wars’ Movie: ‘What A Delight That Would Be’
Films for volume 2 are being produced by acclaimed filmmakers and studios from around the world, including Aardman, best known for the “Wallace & Gromit” series, as well as Ireland’s Cartoon Saloon, South Africa’s Triggerfish, Japan’s D’art Shtajio, India’s 88 Pictures and more.
“The reaction to the first volume of ‘Star Wars: Visions’ blew us away. We were delighted that this project inspired and resonated with so many people,” said James Waugh, “Star Wars: Visions” executive producer.
“We always saw ‘Star Wars: Visions’ as a framework for celebratory expressions of the franchise from some of the best creators working today.
- 2/2/2023
- by Corey Atad
- ET Canada
Ready your lightsabers because Disney+ and Lucasfilm announced the release date, animation studios, filmmakers, and episode descriptions for Star Wars: Visions Volume 2! The animated anthology will premiere exclusively on Disney+ on May 4, 2023. The newest volume presents a masterclass in animation, with stories prepped to push the boundaries of Star Wars storytelling and more shorts from nine studios around the globe. Featuring animation styles inspired by various countries and cultures, Star Wars: Visions Volume 2 takes the beloved franchise beyond the stars and back again.
Per the official press release for Star Wars: Visions Volume 2:
The shorts included in “Star Wars: Visions” Volume 2 were created by the following international animation studios: El Guiri (Spain), Cartoon Saloon (Ireland), Punkrobot (Chile), Aardman (United Kingdom), Studio Mir (South Korea) Studio La Cachette (France), 88 Pictures (India), D’art Shtajio (Japan), and Triggerfish (South Africa). D’Art Shtajio’s short was created in collaboration with Lucasfilm Ltd.
Per the official press release for Star Wars: Visions Volume 2:
The shorts included in “Star Wars: Visions” Volume 2 were created by the following international animation studios: El Guiri (Spain), Cartoon Saloon (Ireland), Punkrobot (Chile), Aardman (United Kingdom), Studio Mir (South Korea) Studio La Cachette (France), 88 Pictures (India), D’art Shtajio (Japan), and Triggerfish (South Africa). D’Art Shtajio’s short was created in collaboration with Lucasfilm Ltd.
- 2/2/2023
- by Steve Seigh
- JoBlo.com
Haven't yet had your fill of "Star Wars" on the small screen? Well, you're in luck. Today brings some very good news about one of the best-ever additions to the popular space-faring franchise.
"Star Wars: Visions," the anime anthology series that filled in the gaps between the movies and shows with some of the most refreshingly original and exciting stories the property has ever seen, is coming back just in time for the geekiest "Star Wars"-themed holiday of them all. Oh, and the new season is bringing along some incredibly intriguing talent that should please just about any fan of animation out there, too. If "Star Wars" fatigue is a real thing, well, luckily nobody ever informed the sprawling creative team behind "Visions" about it.
Disney+ and Lucasfilm announced that season 2 of "Star Wars: Visions" will premiere on Disney+ streaming on "Star Wars Day" -- May 4, 2023. But wait, there's more!
"Star Wars: Visions," the anime anthology series that filled in the gaps between the movies and shows with some of the most refreshingly original and exciting stories the property has ever seen, is coming back just in time for the geekiest "Star Wars"-themed holiday of them all. Oh, and the new season is bringing along some incredibly intriguing talent that should please just about any fan of animation out there, too. If "Star Wars" fatigue is a real thing, well, luckily nobody ever informed the sprawling creative team behind "Visions" about it.
Disney+ and Lucasfilm announced that season 2 of "Star Wars: Visions" will premiere on Disney+ streaming on "Star Wars Day" -- May 4, 2023. But wait, there's more!
- 2/2/2023
- by Jeremy Mathai
- Slash Film
How exactly would host Chris Rock handle #OscarsSoWhite, after staying mostly silent on the issues in recent weeks? What if Leo didn’t win? Would this be a “political Oscars” and who else is Hollywood excluding? We still do not have all the answers, and there is a lot of work to do. This was the year of the #agendaoscars, a year where effort itself was the show’s hope and spotlight. It was not a happy-punchy show in an Ellen DeGeneres way, nor an activist awards to recognize the serious issues concerning diversity in one of America’s most closely watched industries. Yet, this year’s more hesitant tone allowed its significant moments to break in with full impact. Here then are the ten best things about the 2016 Oscars.
1. Lady Gaga’s Performance of “Til It Happens To You.”
No other Best Song performer rivaled Gaga’s intensity and...
1. Lady Gaga’s Performance of “Til It Happens To You.”
No other Best Song performer rivaled Gaga’s intensity and...
- 3/1/2016
- by Dina Paulson
- CinemaNerdz
The Atlanta Film Festival (Atlff), one of the country’s largest Academy Award-qualifying film festivals, will celebrate its 40th birthday April 1–10. Welcoming an audience of almost 25,000 attendees, the fest receives more and more submissions every year, topping 4,000 in 2016. A first wave of six features and 12 short films was announced recently, showcasing filmmaking talent from Bangladesh, Canada, India, Pakistan, Palestine, South Africa, the United States, and beyond. Atlff’s 2016 Screenplay Competition also named five pilot finalists and 12 screenplay finalists; the winners receive a three-day immersive retreat and one-on-one development with industry professionals. Congrats to screenwriters Heidi Willis (“Black Sunday”), John Pisano-Thomsen (“Dietrich Danzig”), Erik Adolphson (“Lemon Made”), and pilot scribe Mike Makowsky (“Cold Spring Harbor”)! Congratulations are also in order for the filmmakers whose Atlff 2015 official entry “Bear Story (Historia de un oso)” took home the Academy Award for best animated short Feb. 28. The Gabriel Osorio Vargas-directed short was...
- 3/1/2016
- backstage.com
It's official: Chris Rock needs to host the Oscars every year. The whole idea of other hosts has been tried, and it has failed, from the soul-withering void that was James Franco to the locust plague they call Seth MacFarlane. Why would you ever not call Rock for this gig? Ellen DeGeneres and Steve Martin are always welcome, but Rock is just the undisputed king of award-show hosts, and despite all the other things he can do, lampooning a roomful of bloated Hollywood egos is what he does best. He...
- 2/29/2016
- Rollingstone.com
The gorgeous, wrenching “Bear Story” demands a view after its win on Sunday for Best Animated Short. Luckily, readers of TheWrap have been up on Gabriel Osorio’s movie since it swept the Jury and Audience awards at the 2015 ShortList Film Festival. Watch the film here. The short tells of a lonesome bear who builds an elaborate mechanical diorama in an attempt to remember (and perhaps recover) the life he used to live with his wife and son before he was ripped from his home and sent to a circus. Also Read: Oscars: The Complete Winners List (Updating Live) Audiences...
- 2/29/2016
- by Matt Donnelly
- The Wrap
Open Road / Participant Media’s journalism procedural prevailed in one of the most closely fought contests in years to claim the best picture prize at the finale of the 88th Academy Awards on Sunday.
In two of the most widely predicted wins of the night, Leo DiCaprio was named best actor for The Revenant and Brie Larson scooped the best lead actress prize for Room.
Earlier, Mexican filmmaker Alejandro G Innaritu made it back-to-back wins when he claimed the best directing prize for The Revenant after his triumph last year for Birdman. Inarritu was the frontrunner in the category after prevailing in the DGA awards.
Earlier in the night George Miller’s wildly popular dystopian adventure burst out of the blocks at the 88th Academy Awards, earning six awards including best editing and sound editing.
Margaret Sixel took the editing award after a three-in-a-row crafts triumph that saw Mad Max: Fury Road pick up statuettes for costume...
In two of the most widely predicted wins of the night, Leo DiCaprio was named best actor for The Revenant and Brie Larson scooped the best lead actress prize for Room.
Earlier, Mexican filmmaker Alejandro G Innaritu made it back-to-back wins when he claimed the best directing prize for The Revenant after his triumph last year for Birdman. Inarritu was the frontrunner in the category after prevailing in the DGA awards.
Earlier in the night George Miller’s wildly popular dystopian adventure burst out of the blocks at the 88th Academy Awards, earning six awards including best editing and sound editing.
Margaret Sixel took the editing award after a three-in-a-row crafts triumph that saw Mad Max: Fury Road pick up statuettes for costume...
- 2/29/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Welcome to the 88th Academy Awards from the Dolby Theater in Hollywood, where the film industry’s best and whitest gather for the annual celebration of motion picture achievements. It’s been a tight race this year, with several contests still too close to call.
The Revenant is the favourite to win best picture heading into the ceremony, with 12 nominations, however don’t be surprised if Mad Max: Fury Road, The Big Short, or Spotlight spring a surprise.
The backdrop to this evening’s proceedings – along with the foreground and everything above it, below it, to the left and to the right of it – has been dominated by the #OscarsSoWhite outrage, which erupted back in January when, for the second year in a row, all 20 acting nominees were white.
The ensuing maelstrom triggered jerky knees in the Academy, which has moved to alter its composition and the way it does business going forward.
Time will tell. Meanwhile...
The Revenant is the favourite to win best picture heading into the ceremony, with 12 nominations, however don’t be surprised if Mad Max: Fury Road, The Big Short, or Spotlight spring a surprise.
The backdrop to this evening’s proceedings – along with the foreground and everything above it, below it, to the left and to the right of it – has been dominated by the #OscarsSoWhite outrage, which erupted back in January when, for the second year in a row, all 20 acting nominees were white.
The ensuing maelstrom triggered jerky knees in the Academy, which has moved to alter its composition and the way it does business going forward.
Time will tell. Meanwhile...
- 2/28/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
On Tuesday evening, The Academy kicked off Oscar Week. In the final days leading up to Oscar Sunday, movie fans will be offered throughout the week a up-close look with a series of public programs celebrating this year’s nominees in the Animated Feature Film, Documentary Feature, Documentary Short Subject, Foreign Language Film, Makeup and Hairstyling, and Animated and Live Action Short Film categories.
Hosted by Jennifer Yuh Nelson, Oscar Nominated for Kung Fu Panda 2, and director of Kung Fu Panda 3, the evening spotlighted the Animated Short Film and Live Action Short Film categories.
The “Oscar Week: Shorts” event, held at the Samuel Goldwyn Theater in Beverly Hills, featured a screening of all 10 nominated shorts in their entirety, as well as discussions with all of the nominated filmmakers.
On the heels of breaking box office records for this year’s Oscar nominated short films in theaters across the country,...
Hosted by Jennifer Yuh Nelson, Oscar Nominated for Kung Fu Panda 2, and director of Kung Fu Panda 3, the evening spotlighted the Animated Short Film and Live Action Short Film categories.
The “Oscar Week: Shorts” event, held at the Samuel Goldwyn Theater in Beverly Hills, featured a screening of all 10 nominated shorts in their entirety, as well as discussions with all of the nominated filmmakers.
On the heels of breaking box office records for this year’s Oscar nominated short films in theaters across the country,...
- 2/25/2016
- by Michelle McCue
- WeAreMovieGeeks.com
The 88th Annual Academy Awards are just around the corner on Sunday evening, so once again, it’s time to lay down my predictions for who has the best chance of winning in each of the 24 categories, along with a bit of analysis as to why they appear to be the frontrunners. As usual, I’ll start from the smallest categories and work my way up, so let’s get started:
Best Animated Short Film
“Bear Story” Gabriel Osorio and Pato Escala
“Prologue” Richard Williams and Imogen Sutton
“Sanjay’s Super Team” Sanjay Patel and Nicole Grindle
“We Can’t Live without Cosmos” Konstantin Bronzit
“World of Tomorrow” Don Hertzfeldt
Best Live Action Short Film
“Ave Maria” Basil Khalil and Eric Dupont
“Day One” Henry Hughes
“Everything Will Be Okay (Alles Wird Gut)” Patrick Vollrath
“Shok” Jamie Donoughue
“Stutterer” Benjamin Cleary and Serena Armitage
Best Documentary Short Subject
“Body Team 12...
Best Animated Short Film
“Bear Story” Gabriel Osorio and Pato Escala
“Prologue” Richard Williams and Imogen Sutton
“Sanjay’s Super Team” Sanjay Patel and Nicole Grindle
“We Can’t Live without Cosmos” Konstantin Bronzit
“World of Tomorrow” Don Hertzfeldt
Best Live Action Short Film
“Ave Maria” Basil Khalil and Eric Dupont
“Day One” Henry Hughes
“Everything Will Be Okay (Alles Wird Gut)” Patrick Vollrath
“Shok” Jamie Donoughue
“Stutterer” Benjamin Cleary and Serena Armitage
Best Documentary Short Subject
“Body Team 12...
- 2/24/2016
- by Jeff Beck
- We Got This Covered
Oscar-Nominee 'Bear Story' Dir. Gabriel Osorio on His Grandfather's Exile & Latin American Animation
With two Academy Award nominations this year and the increased overall quality of productions made in the region, Latin American animation is rapidly evolving from a technique sporadically employed in those territories to a viable alternative medium for artists to explore both local and universal stories.
“Bear Story” (“Historia de un oso”) by Chilean animator Gabriel Osorio - currently nominated in the Best Animated Short category next to works by three previously nominated filmmakers and a Pixar production - tackles one of the darkest chapter’s in his country’s history through a personal CG animated narrative about a bear who copes with loss by sharing his story using an intricate diorama with handcrafted metal figurines.
Touching and delicately textured, the story, inspired by Osorio’s grandfather’s experiences, is sophistically written to be satisfying on an emotional level and carry its historical undertones subtly. Osorio talked to us about the memories that marked his childhood making animation in Chile, and storytellers’ responsibility to give us hope.
Carlos Aguilar: I know that your grandfather inspired “Bear Story." Tell me about his story and how did it become the basis for this animated short?
Gabriel Osorio: Mi grandfather was imprisoned after the coup d’état of 1973, during Pinochet’s dictatorship, and was then exiled to England simply because he was a public official during the socialist government. When I was born my grandfather was still living in exile and I grew up with this image of a grandfather that for some reason was forbidden from returning to the country and be with his family. That marked a great part of my childhood and that somehow pushed me tell the story of this character that is forcibly separated from his family and how terrible it is to return after many years in exile and realize that nothing is like it used to be.
CA: Though the short film works perfectly for a young audience, adults will understand the political and historical nuances that are also part of the story. Why was it important for you to have these two readings within the film?
Gabriel Osorio: From the very beginning I thought of making a story that could be seen by anyone, children or adults, for that reason it was important not to be literal or focus only on the historical or political aspects, but instead create a story that could speak about feelings and emotions with which any person can identify. In that sense, it was very important for me to have these distinct levels of interpretation, because they creates the possibility for new interpretations to be generated based on the experiences of each audience member. That’s always been the type of cinema that I want to make, which creates a dialogue with the audience and leaves spaces open for interpretation.
CA: How did the idea of using a bear and his story of being separated from his family and locked away in a circus as a metaphor to talk about your country’s dark past come about?
Gabriel Osorio: I met my grandfather when I was 10-years-old and what caught my attention the most was seeing how tall and big he was. He was like a bear. I believe that the use of this particular animal comes from that and the metaphor comes from trying to find an analogy between what he lived and what our family suffered living so many years away from him. For our team it was very important to convey a message about family and the importance of families remaining together.
CA: Tell me about the two visual styles that are you used in “Bear Story.” The present has a very particular elegant design, while the metal world of the music box seems even more meticulously crafted.
Gabriel Osorio: Both visual styles were a challenge in terms of the technical aspects because it in fact required us to make two different short films. In terms of the design and the art of the film, which was done by Antonia Herrera, it was important to show the details in the world of the metallic figures. I believe that the textures and the worn out details, contribute to creating the idea that there is a story behind the objects. They support the idea of this nostalgia and the idea that things were different in the past. It was also important to reflect the hard work and affection that the bear puts into the making of those figures because for him they represent his family, his memories. This also relates to the work we did as animators.
CA: The bear in the film is a storyteller himself and used the music box to share his story. Why did you feel this was the right
storytelling device for the film?
Gabriel Osorio: Besides my grandfather’s story, the idea of a bear as a storyteller has to do with a metaphor about our work as animators and filmmakers. Despite the fact that the bear knows his life is not like he would like it to be, he still tries to pass along a positive message of hope. I think that we as animators have the responsibility of giving hope to the new generations, to understand that injustices exist and will always exist in the world, but we can always do our part so these stories don’t happen again.
CA: “Bear Story” is entirely a visual short. Why did you decide dialogue was unnecessary for the story you were trying to tell?
Gabriel Osorio: It was a decision based mostly on my personal preferences and the nostalgia for a type of cinema that is rare these days. One of my favorite films is “City Lights” by Chaplin, and I personally believe that if you can express yourself simply with images, those ideas will stay with the viewer. It also has to do with my training in Fine Arts. I specialized in oil paintings and the use of images.
CA; “Bear Story” has connected with audiences from different nationalities and ages, even though perhaps some of them might not know of the historical context. What do you think makes it a universal tale?
Gabriel Osorio: The film has screened in many festivals around the world and it has won awards in Taiwan, Australia, the U.S., Greece, the Netherlands, etc. It’s definitely a universal story, which was always our objective. I think this is due to the fact that it’s a very human tale, very sad and nostalgic, that captivates audiences and generates empathy for the character. After every screening people always ask the same thing, “What happened to the bear’s family?” People are intrigued after watching it.
Some people in Europe have associated the short with the Russian revolution and people in Taiwan with the Japanese invasion, so even though this happened in Chile, exile is something that has happened everywhere in the world and that’s why many people see themselves reflected in the film
CA: How hard is it to make animation in Chile in terms of financing and resources?
Gabriel Osorio: Within the region, Chile stands out in terms of programs and initiatives that support the making of audiovisual works, both in film and television. In recent years these programs have opened specific opportunities for animation, which has increased the production of animated works. What’s complicated is that the resources granted by these funds are still too low for the entire production of an animated feature and one can only submit a project for consideration once a year, which means that productions that don’t get these resources are stalled.
CA: Would you say Latin American animation is going through a period of growth and greater international exposure? If so, why do you think that is?
Gabriel Osorio: Without a doubt, Latin American animation is going trough a great moment, and proof of this is that “Bear Story” is nominated for Best Animated Short and “Boy and the World” for Best Animated Feature. Added to this, animated features and animated television series are being produced in the majority of the region’s countries, which stimulates the possibilities for co-productions and opens the window for the exhibition of Latin American animated cinema in Latin America and the world.
I believe this growth is due to the specialization of professionals working in animation and an interest for the content being produced to cross borders. Projects are being developed thinking in the global market, which allows them to reach more territories and screens.
CA: What was your reaction when you found out about the Oscar nomination?
Gabriel Osorio: It was a total surprise. Although we were hopeful since we got on the shortlist, it was still a dream that seemed far away and is now a reality. Two years ago I would have never imagined we would be in this position. The best part is that the nomination is not only positive for Punkrobot as an independent animation studio, but it’s also a tremendous accomplishment for Chile and Latin American animation I general.
CA: Do you plan to make an animated feature in the near future?
Gabriel Osorio: Yes we have a couple ideas on file and we are eager to make an animated feature. We feel that having made two animated series with 40 episodes in total, besides the short film, has given us the necessary experience to achieve it. We want to continue making stories that connect on an emotional level with the audience through messages and themes that are simple and universal.
You can watch "Bear Story" as part of Shorts HD's theatrical release of the 2016 Oscar Nominated Short Films - Animation playing in cities around the country now.
“Bear Story” (“Historia de un oso”) by Chilean animator Gabriel Osorio - currently nominated in the Best Animated Short category next to works by three previously nominated filmmakers and a Pixar production - tackles one of the darkest chapter’s in his country’s history through a personal CG animated narrative about a bear who copes with loss by sharing his story using an intricate diorama with handcrafted metal figurines.
Touching and delicately textured, the story, inspired by Osorio’s grandfather’s experiences, is sophistically written to be satisfying on an emotional level and carry its historical undertones subtly. Osorio talked to us about the memories that marked his childhood making animation in Chile, and storytellers’ responsibility to give us hope.
Carlos Aguilar: I know that your grandfather inspired “Bear Story." Tell me about his story and how did it become the basis for this animated short?
Gabriel Osorio: Mi grandfather was imprisoned after the coup d’état of 1973, during Pinochet’s dictatorship, and was then exiled to England simply because he was a public official during the socialist government. When I was born my grandfather was still living in exile and I grew up with this image of a grandfather that for some reason was forbidden from returning to the country and be with his family. That marked a great part of my childhood and that somehow pushed me tell the story of this character that is forcibly separated from his family and how terrible it is to return after many years in exile and realize that nothing is like it used to be.
CA: Though the short film works perfectly for a young audience, adults will understand the political and historical nuances that are also part of the story. Why was it important for you to have these two readings within the film?
Gabriel Osorio: From the very beginning I thought of making a story that could be seen by anyone, children or adults, for that reason it was important not to be literal or focus only on the historical or political aspects, but instead create a story that could speak about feelings and emotions with which any person can identify. In that sense, it was very important for me to have these distinct levels of interpretation, because they creates the possibility for new interpretations to be generated based on the experiences of each audience member. That’s always been the type of cinema that I want to make, which creates a dialogue with the audience and leaves spaces open for interpretation.
CA: How did the idea of using a bear and his story of being separated from his family and locked away in a circus as a metaphor to talk about your country’s dark past come about?
Gabriel Osorio: I met my grandfather when I was 10-years-old and what caught my attention the most was seeing how tall and big he was. He was like a bear. I believe that the use of this particular animal comes from that and the metaphor comes from trying to find an analogy between what he lived and what our family suffered living so many years away from him. For our team it was very important to convey a message about family and the importance of families remaining together.
CA: Tell me about the two visual styles that are you used in “Bear Story.” The present has a very particular elegant design, while the metal world of the music box seems even more meticulously crafted.
Gabriel Osorio: Both visual styles were a challenge in terms of the technical aspects because it in fact required us to make two different short films. In terms of the design and the art of the film, which was done by Antonia Herrera, it was important to show the details in the world of the metallic figures. I believe that the textures and the worn out details, contribute to creating the idea that there is a story behind the objects. They support the idea of this nostalgia and the idea that things were different in the past. It was also important to reflect the hard work and affection that the bear puts into the making of those figures because for him they represent his family, his memories. This also relates to the work we did as animators.
CA: The bear in the film is a storyteller himself and used the music box to share his story. Why did you feel this was the right
storytelling device for the film?
Gabriel Osorio: Besides my grandfather’s story, the idea of a bear as a storyteller has to do with a metaphor about our work as animators and filmmakers. Despite the fact that the bear knows his life is not like he would like it to be, he still tries to pass along a positive message of hope. I think that we as animators have the responsibility of giving hope to the new generations, to understand that injustices exist and will always exist in the world, but we can always do our part so these stories don’t happen again.
CA: “Bear Story” is entirely a visual short. Why did you decide dialogue was unnecessary for the story you were trying to tell?
Gabriel Osorio: It was a decision based mostly on my personal preferences and the nostalgia for a type of cinema that is rare these days. One of my favorite films is “City Lights” by Chaplin, and I personally believe that if you can express yourself simply with images, those ideas will stay with the viewer. It also has to do with my training in Fine Arts. I specialized in oil paintings and the use of images.
CA; “Bear Story” has connected with audiences from different nationalities and ages, even though perhaps some of them might not know of the historical context. What do you think makes it a universal tale?
Gabriel Osorio: The film has screened in many festivals around the world and it has won awards in Taiwan, Australia, the U.S., Greece, the Netherlands, etc. It’s definitely a universal story, which was always our objective. I think this is due to the fact that it’s a very human tale, very sad and nostalgic, that captivates audiences and generates empathy for the character. After every screening people always ask the same thing, “What happened to the bear’s family?” People are intrigued after watching it.
Some people in Europe have associated the short with the Russian revolution and people in Taiwan with the Japanese invasion, so even though this happened in Chile, exile is something that has happened everywhere in the world and that’s why many people see themselves reflected in the film
CA: How hard is it to make animation in Chile in terms of financing and resources?
Gabriel Osorio: Within the region, Chile stands out in terms of programs and initiatives that support the making of audiovisual works, both in film and television. In recent years these programs have opened specific opportunities for animation, which has increased the production of animated works. What’s complicated is that the resources granted by these funds are still too low for the entire production of an animated feature and one can only submit a project for consideration once a year, which means that productions that don’t get these resources are stalled.
CA: Would you say Latin American animation is going through a period of growth and greater international exposure? If so, why do you think that is?
Gabriel Osorio: Without a doubt, Latin American animation is going trough a great moment, and proof of this is that “Bear Story” is nominated for Best Animated Short and “Boy and the World” for Best Animated Feature. Added to this, animated features and animated television series are being produced in the majority of the region’s countries, which stimulates the possibilities for co-productions and opens the window for the exhibition of Latin American animated cinema in Latin America and the world.
I believe this growth is due to the specialization of professionals working in animation and an interest for the content being produced to cross borders. Projects are being developed thinking in the global market, which allows them to reach more territories and screens.
CA: What was your reaction when you found out about the Oscar nomination?
Gabriel Osorio: It was a total surprise. Although we were hopeful since we got on the shortlist, it was still a dream that seemed far away and is now a reality. Two years ago I would have never imagined we would be in this position. The best part is that the nomination is not only positive for Punkrobot as an independent animation studio, but it’s also a tremendous accomplishment for Chile and Latin American animation I general.
CA: Do you plan to make an animated feature in the near future?
Gabriel Osorio: Yes we have a couple ideas on file and we are eager to make an animated feature. We feel that having made two animated series with 40 episodes in total, besides the short film, has given us the necessary experience to achieve it. We want to continue making stories that connect on an emotional level with the audience through messages and themes that are simple and universal.
You can watch "Bear Story" as part of Shorts HD's theatrical release of the 2016 Oscar Nominated Short Films - Animation playing in cities around the country now.
- 2/23/2016
- by Carlos Aguilar
- Sydney's Buzz
By Patrick Shanley
Managing Editor
While the Oscar’s best animated feature category has only existed since 2001, the award for best animated short has been presented since 1932. This year five short films from all across the globe are competing in the category.
With the exception of Pixar’s Sanjay’s Super Team, which accompanied the studio’s feature length film, The Good Dinosaur last year, most Oscar fans filling out their scorecards likely haven’t seen this year’s competitors for best animated short. Here’s a breakdown of all five films competing and which one may just have the edge.
Prologue: A highly stylized short centered on an intense, and brutally violent, struggle between four warriors, witnessed by a young girl. The short comes from the United Kingdom and was directed by two-time Oscar winner, Richard Williams, who won the best animated short Oscar in 1973 for A Christmas Carol.
Managing Editor
While the Oscar’s best animated feature category has only existed since 2001, the award for best animated short has been presented since 1932. This year five short films from all across the globe are competing in the category.
With the exception of Pixar’s Sanjay’s Super Team, which accompanied the studio’s feature length film, The Good Dinosaur last year, most Oscar fans filling out their scorecards likely haven’t seen this year’s competitors for best animated short. Here’s a breakdown of all five films competing and which one may just have the edge.
Prologue: A highly stylized short centered on an intense, and brutally violent, struggle between four warriors, witnessed by a young girl. The short comes from the United Kingdom and was directed by two-time Oscar winner, Richard Williams, who won the best animated short Oscar in 1973 for A Christmas Carol.
- 2/12/2016
- by Patrick Shanley
- Scott Feinberg
The wonderfully weird, hilariously morbid “World of Tomorrow” crams in more disturbing, sinister science-fiction ideas than a decade’s worth of blockbusters. I’m “biast” (pro): nothing
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
Animated shorts tend to be nearly silent films. They’ve got music and sound FX, sure, but often no dialogue: something about this particular mode of cinematic storytelling seems to inspire filmmakers to eschew it. Which makes my pick as this year’s best among the Oscar-nominated animated shorts an anomaly: it’s the only one of this year’s film nominees to feature dialogue. Extensively. Unlike its fellow nominees, the wonderfully weird and hilariously morbid “World of Tomorrow” [IMDb | official site], from American filmmaker Don Hertzfeldt, would not work at all were its dialogue removed. Its animation style is deliciously ticklish, and is inherent to its appeal, but it...
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
Animated shorts tend to be nearly silent films. They’ve got music and sound FX, sure, but often no dialogue: something about this particular mode of cinematic storytelling seems to inspire filmmakers to eschew it. Which makes my pick as this year’s best among the Oscar-nominated animated shorts an anomaly: it’s the only one of this year’s film nominees to feature dialogue. Extensively. Unlike its fellow nominees, the wonderfully weird and hilariously morbid “World of Tomorrow” [IMDb | official site], from American filmmaker Don Hertzfeldt, would not work at all were its dialogue removed. Its animation style is deliciously ticklish, and is inherent to its appeal, but it...
- 1/29/2016
- by MaryAnn Johanson
- www.flickfilosopher.com
Ahead of the Academy Awards, we’re reviewing each short category. See the Animation section below and the other shorts sections here.
Bear Story [Historia de un oso] – Chile – 11 minutes
While Gabriel Osorio Vargas‘ Chilean short film Bear Story tells the tale of a sad, lonely old bear, it does ultimately prove uplifting. Here’s a creature tinkering tirelessly in his shop to put the finishing touches on what could very well be his life’s work and yet any and all success or failure is met with silence. There’s no one else in his small home to celebrate or lament—just the indentations of two bodies on his mattress permanently displaying that love and company existed not too long ago. How did it come to this? We’ll never know and that’s a wonderful thing. Instead we discover that love’s strength—strong enough to render distance and death harmless. His...
Bear Story [Historia de un oso] – Chile – 11 minutes
While Gabriel Osorio Vargas‘ Chilean short film Bear Story tells the tale of a sad, lonely old bear, it does ultimately prove uplifting. Here’s a creature tinkering tirelessly in his shop to put the finishing touches on what could very well be his life’s work and yet any and all success or failure is met with silence. There’s no one else in his small home to celebrate or lament—just the indentations of two bodies on his mattress permanently displaying that love and company existed not too long ago. How did it come to this? We’ll never know and that’s a wonderful thing. Instead we discover that love’s strength—strong enough to render distance and death harmless. His...
- 1/28/2016
- by Jared Mobarak
- The Film Stage
Last year Latin American films garnered an impressive haul of awards from some of the most important film festivals around including Sundance, Berlin, Cannes, and Venice. “The Second Mother, “ “The Club,” “From Afar, “ “Land and Shade, “ “600 Miles," and “Ixcanul, “ were some of the works that demonstrated the aesthetic quality and thematic diversity the region’s cinema currently boasts. But while critics and festival juries clearly appreciate the risk-taking stance of Latin American filmmakers, Hollywood awards groups rarely follow suit. The industry is willing to honor Latino talent - like the Academy Awards did last year - but not so much Latino stories.
Argentina is the only Latin American country to have ever won the Academy Award for Best Foreign Language Film. Mexico, Brazil, Peru, Chile, Nicaragua, and Cuba have been nominated but have failed to take the coveted statuette home. Success in other categories has been even more unusual with films like the Spanish animated feature set in Cuba “Chico & Rita” or last year’s Oscar nominated documentary short “The Reaper” being two of the very few examples.
For the 88th edition of the prestigious ceremony, seven films, which are either by Latin American directors or that tell stories centered in Latin America, are in the running to represent the cultural heritage, political concerns, and the everyday lives of its people in unconventional ways that range from animation to heart-racing documentaries. Whatever the final results may be, the caliber of Latin American achievements in film to grace the screen in the past 12 months is undeniable.
Best Foreign Language Film
"Embrace of the Serpent" (Colombia)
Dir. Ciro Guerra
Strikingly beautiful and laced with poetic mysticism, Ciro Guerra’s most accomplished work to date follows the journey of two European explores at particular times in history as they are guided through the Amazon by Karamakate, an imposing local shaman man who is wary of their intentions.
"Viva" (Ireland)
Dir. Paddy Breathnach
Jesus, a young gay man in Havana, only finds relief from his daily struggles when he transforms into a drag performer in front of an eager audience, but when his macho father returns after decades away his dreams are jeopardized. This Irish production set in Cuba is a delightful work that thrives on authenticity and emotionally layered performances. Although the film is represented the European country, the passionate narrative is authentically Cuban and captures the essence of the isolated island with admirable sincerity.
Read More: 'Viva' Director Paddy Breathnach on Making an Irish Film in Cuba and Visceral Transformation
Best Animated Feature
"Boy and the World" (Brazil)
Dir. Alê Abreu
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Abreu’s animated masterpiece could become the first Latin American animated feature to be nominated in the category.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
Best Documentary Feature
Cartel Land" (U.S./ Mexico)
Dir. Matthew Heineman
Matthew Heineman's film is indeed a gruesome and riveting account of how the narco violence has kept entire towns in the Mexican state of Michoacán hostage, and how a group of civilians, the "Autodefensas," took matters into their own hands and became a reactive rogue institution that had, initially, no ties to the federal government. "Cartel Land" bravely tackles this overwhelming matter with compassion for the victims and as much objectivity as possible towards the political questions it raises. Though it can’t possibly give us definitive answers, it’s a great vehicle to raise awareness and demand action.
Best Live Action Short Film
"Contrapelo" (Mexico)
Dir. Gareth Dunnet Alcocer
A respected Mexican barber with strong views about the atrocities committed by organized crime finds himself in a difficult position when is forced to decide whether to eliminate part of the problem or stick to his profession. Intimate in scope, yet decisive in its moral questioning of the situation, Gareth Dunnet Alcocer ‘s short offers two memorable performances and a brutally honest conclusion.
Best Animated Short Film
"Bear Story" (Chile)
Dir. Gabriel Osorio Vargas
Using the touching story of a bear who is ripped away from his family to forcefully work at a circus as a metaphor to revisit one of Chilean history’s darkest chapters, this gorgeous 3D animated short showcases incredible textural detail and visual storytelling of the most powerful and universal kind.
Best Documentary Short Film
"Minerita" (Spain/Bolivia)
Dir. Raúl de la Fuente
A group of Bolivian women working in the Potosi mines share the harrowing struggles they must endure to make a living and survive under incredibly harsh conditions. Constantly being sexually harassed by the male miners, living perpetually scared of being raped or killed, and dealing with the demanding physical labor, make their accounts both heroic and tragic.
Argentina is the only Latin American country to have ever won the Academy Award for Best Foreign Language Film. Mexico, Brazil, Peru, Chile, Nicaragua, and Cuba have been nominated but have failed to take the coveted statuette home. Success in other categories has been even more unusual with films like the Spanish animated feature set in Cuba “Chico & Rita” or last year’s Oscar nominated documentary short “The Reaper” being two of the very few examples.
For the 88th edition of the prestigious ceremony, seven films, which are either by Latin American directors or that tell stories centered in Latin America, are in the running to represent the cultural heritage, political concerns, and the everyday lives of its people in unconventional ways that range from animation to heart-racing documentaries. Whatever the final results may be, the caliber of Latin American achievements in film to grace the screen in the past 12 months is undeniable.
Best Foreign Language Film
"Embrace of the Serpent" (Colombia)
Dir. Ciro Guerra
Strikingly beautiful and laced with poetic mysticism, Ciro Guerra’s most accomplished work to date follows the journey of two European explores at particular times in history as they are guided through the Amazon by Karamakate, an imposing local shaman man who is wary of their intentions.
"Viva" (Ireland)
Dir. Paddy Breathnach
Jesus, a young gay man in Havana, only finds relief from his daily struggles when he transforms into a drag performer in front of an eager audience, but when his macho father returns after decades away his dreams are jeopardized. This Irish production set in Cuba is a delightful work that thrives on authenticity and emotionally layered performances. Although the film is represented the European country, the passionate narrative is authentically Cuban and captures the essence of the isolated island with admirable sincerity.
Read More: 'Viva' Director Paddy Breathnach on Making an Irish Film in Cuba and Visceral Transformation
Best Animated Feature
"Boy and the World" (Brazil)
Dir. Alê Abreu
The most awarded animated feature to open in U.S. theaters this year is a Brazilian wonder that ditches dialogue entirely for a storytelling approach that’s purely visual, whimsical, and even heartbreaking. Through the eyes of a playful young boy searching for his father, Alê Abreu’s musical odyssey conveys sophisticated notions about social justice, the voracious appetite of capitalism, and the yoke of oppression. Abreu’s animated masterpiece could become the first Latin American animated feature to be nominated in the category.
Read More: How "Boy and the World" Director Alê Abreu Handcrafted His Heartfelt & Dazzling Animated Masterpiece
Best Documentary Feature
Cartel Land" (U.S./ Mexico)
Dir. Matthew Heineman
Matthew Heineman's film is indeed a gruesome and riveting account of how the narco violence has kept entire towns in the Mexican state of Michoacán hostage, and how a group of civilians, the "Autodefensas," took matters into their own hands and became a reactive rogue institution that had, initially, no ties to the federal government. "Cartel Land" bravely tackles this overwhelming matter with compassion for the victims and as much objectivity as possible towards the political questions it raises. Though it can’t possibly give us definitive answers, it’s a great vehicle to raise awareness and demand action.
Best Live Action Short Film
"Contrapelo" (Mexico)
Dir. Gareth Dunnet Alcocer
A respected Mexican barber with strong views about the atrocities committed by organized crime finds himself in a difficult position when is forced to decide whether to eliminate part of the problem or stick to his profession. Intimate in scope, yet decisive in its moral questioning of the situation, Gareth Dunnet Alcocer ‘s short offers two memorable performances and a brutally honest conclusion.
Best Animated Short Film
"Bear Story" (Chile)
Dir. Gabriel Osorio Vargas
Using the touching story of a bear who is ripped away from his family to forcefully work at a circus as a metaphor to revisit one of Chilean history’s darkest chapters, this gorgeous 3D animated short showcases incredible textural detail and visual storytelling of the most powerful and universal kind.
Best Documentary Short Film
"Minerita" (Spain/Bolivia)
Dir. Raúl de la Fuente
A group of Bolivian women working in the Potosi mines share the harrowing struggles they must endure to make a living and survive under incredibly harsh conditions. Constantly being sexually harassed by the male miners, living perpetually scared of being raped or killed, and dealing with the demanding physical labor, make their accounts both heroic and tragic.
- 1/13/2016
- by Carlos Aguilar
- Sydney's Buzz
David Gordon Green returns to his alma mater to present Manglehorn; local newcomers impress with Homeless feature.Scroll down for full list of winners
RiverRun International Film Festival in Winston-Salem, North Carolina, wrapped last night with Shawkat Amin Korki’s Memories on Stone winning best narrative feature and Hao Zhou’s The Chinese Mayor winning best documentary feature.
In the audience awards, best of the fest went to honoree Stanley Nelson’s The Black Panthers: Vanguard Of The Revolution; best narrative feature went to Anywhere Else by Ester Amrami; best documentary feature went to Marc Silver’s 3 ½ Minutes and best indie was Proud Citizen by Thomas Southerland.
The festival presented 165 films in total in its 17th annual edition; more filmmakers than ever before attended the event.
“Films showcased at our festival this year reflected diverse stories from around the world, immense talent from directors, many trained in Winston-Salem, and a host of passionate projects that are jewels...
RiverRun International Film Festival in Winston-Salem, North Carolina, wrapped last night with Shawkat Amin Korki’s Memories on Stone winning best narrative feature and Hao Zhou’s The Chinese Mayor winning best documentary feature.
In the audience awards, best of the fest went to honoree Stanley Nelson’s The Black Panthers: Vanguard Of The Revolution; best narrative feature went to Anywhere Else by Ester Amrami; best documentary feature went to Marc Silver’s 3 ½ Minutes and best indie was Proud Citizen by Thomas Southerland.
The festival presented 165 films in total in its 17th annual edition; more filmmakers than ever before attended the event.
“Films showcased at our festival this year reflected diverse stories from around the world, immense talent from directors, many trained in Winston-Salem, and a host of passionate projects that are jewels...
- 4/27/2015
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
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