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In the In Persona series, internationally renowned and artistically outstanding animators from all over the world provide a personal insight into their work and methods. Agnes Hay, Georges Schwitzgebel and Raoul Servais will be just three of the artists present at the festival.

Wed, 9.5., 7 PM, Metropol 2

In Persona Agnes Hay (Budapest)
What happens if a 20-year-old young lady gets the opportunity to shot an animated movie in a film studio named after the film theorist, writer Béla Balázs in the beginning of the ’70-es of Budapest in the middle of the communism? A Diary of an Excentric Gentleman turns out, as a 13 minutes long image-essay with paper-cut-out technique. Shorter and longer experiments were made from the beginning of the 70-es by Háy with dough material, telling stories or just trying out the texture of the material. Another material addressed by the director is time, as this substance can be captured and reproduced by film therefore modified by animation. Last but not least a significant part of the animated films of Háy are pixilations with stop-motion technique. Háy uses almost all the analogue techniques of animation and later digital technology in the same spirit, she follows her own arbitrary structuralism by editing them to a film always working together with musicians, who gladly take the challenge to follow her charming ideas of animated filmmaking. (Lívia Rózsás)

Fri, 11.05. / 5 PM, Cinema

In Persona Michel Ocelot (Paris)

Michel Ocelot was born on the Côte d'Azur and spent his childhood in Guinea, before returning to France where he studied art in Paris. He first made the television series "Les Aventures de Gédéon" (1976). His first short film "Les Trois Inventeurs" (1979) won a BAFTA. To make the film Ocelot used figures and sets made of paper – his first attempt at the silhouette technique in the tradition of Lotte Reiniger. "La Légende du Pauvre Bossu" was awarded the César for the best animated short film in 1983. Since then Michel Ocelot has been caught under the spell of living shadows. Episodes for series and short films produced using the silhouette technique followed, including "Le Prince Joyaux" (1992). Ocelot now devoted himself to this magical silhouette film technique and has brought fairytale figures from all over the world to life. His work is full of witches, humped-backed and cruel queens. However, the hero that made Ocelot known to a wide audience is a small boy: Ocelot made "Kirikou et la Sorcière" (1998), a fairytale from the land of his childhood, and received acclaim from critics and audiences the world over. The sequel "Kirikou et les Bêtes Sauvages" (2005) won the audience award in Stuttgart in 2006 and was shown in the New York Museum of Modern Art. Ocelot‘s fourth feature film "Azur et Asmar" (2006) was selected for the "Quinzaine des Réalisateurs" in Cannes and named best animated feature film in the AniMovie competition at the Stuttgart Festival of Animated Film a year later. "Les Contes de la Nuit" (2011), a fairytale-collection, has been released in 3D and was one of the films nominated for the International Competition at the Berlinale. The old art of silhouette film merges with the potential of modern technology. Michel Ocelot is open for all types of art – including the music video genre. He has also made a silhouette video for Iceland’s singer, Björk, for her song "Earth Intruders" (2007).


presented in cooperation with Französische Filmtage Tübingen-Stuttgart

Fri, 11.05. / 8 PM, Metropol 2

In Persona Raoul Servais (Brüssel)


Grey legions want to conquer the world of colours. States use nerve poisons. Moths and prehistoric reptiles cross desolate landscapes. Raoul Servais' films are full of fantastic creatures and wonderful enchantment and yet they ask the universal questions of humanity – humanistic, fierce, with a candid view, even for more ominous issues. This Belgian pioneer of animation film was born in Ostend in 1928, in the 50s he assisted René Magritte in his mural painting projects. Servais experimented with various arts such as mural and window painting at the Académie des Beaux-Arts in Ghent. In 1960 Servais became a professor for applied art and in 1963 founded Europe's first animation academy, the "Ecole de Film d’Animation" at the Académie des Beaux-Arts in Ghent. In the 60s Servais began his career as a filmmaker: his first film, "Les Lumières du Port", won an award in Anvers for the originality of his graphics. From then on Servais made his films using 35 mm film, the format of cinema theatres. "Chromophobia" (1966) and "Sirène" (1968) were showered with awards from all over the world. Servais celebrated other successful films in Venice, Annecy, Zagreb, Bilbao, Montreal, Chicago and Teheran. His powerful imagery is universal and can be understood by non-European cultures. In 1979 Servais won the "Palme D’Or" in Cannes for his film "Harpya" – birdlike demons from Greek mythology. Servais began trying to combine real film with animation and developed his own technique, "la Servaisgraphie", which, however, he only ever used in "Papillons de nuit" (1998). From 1985 to 1994 Servais was president of the International Association for Animated Film (ASIFA).

Thu, 10.05. / 7 PM, Metropol 2

In Persona Georges Schwizgebel (Geneva)

An accordion waltz floats over acrylics on celluloid, an old man changes from one image to the next, fragments from operas resound – these are typical scenes from Georges Schwizgebel‘s films. They are often inspired by musical structures and incorporate other art forms such as theatre, painting and architecture. A few brush strokes outline characters and atmospheric scenes are created with engaging lightness. George Schwizgebel was born in 1944 in Reconvilier, a village in the Jura valley. He went to Geneva to study graphics at the Ecole des Arts Décoratifs and worked in an advertising agency. In 1970 Schwizgebel founded the GDS studio together with two friends, both graphic designers. Watching numerous films in Annecy did not remain without consequence: Schwizgebel began making animated films. After a stay in Shanghai, Schwizgebel made his first short film “78 Tours” (1985), which won the Grand Prix in Stuttgart. This was followed by “Le sujet du tableau” (1989), a story about impermanence, “La course à l’abîme” (1992), “L’année du daim” (1995), an adaptation of a story by Liu Zongyuan, and “Fugue” (1998). Schwizgebel‘s films which make no use of speech have been awarded several prizes from the Swiss Office Fédérale de la Culture (OFC). He has celebrated success at festivals in Annecy, Espinho, Zagreb, Oberhausen, Hiroshima und Shanghai. Retrospectives and exhibitions have taken Schwizgebel around the globe, including to Stuttgart. In 1990 Patricia Plattner’s documentary, “Des tableaux qui bougent”, about Schwizgebel’s work, was released. From 2000 to 2008, Schwizgebel made four further films which all won prizes at festivals – particularly “L’homme sans l’ombre” (2004), which also won a prize at Cannes. Schwizgebel is presenting his current film, “Romance” (2011) in the International Competition. It is a virtual romance set to the music of Rachmaninov.

Sat, 12.05. / 8 PM, Metropol 2

In Persona Tine Kluth (London)

Tine Kluth was born in Ostfildern-Ruit near Stuttgart in 1973. From 1995 to 2002 she studied in the field of animation at the Film Academy Baden-Württemberg in Ludwigsburg. During this period she produced the short films “Geisterbahn” (“Ghost train”, 1999/2000) and “Das Schloss” (“The castle”, 2002). Around the same time Kluth was involved in Andy Kaiser’s German version of the American stop-motion TV series “Celebrity Deathmatch”. After obtaining her degree, Kluth made and produced her animated film “Kater” (Tomcat, 2005) which tells the story of a stray tomcat that unhappily roams through backyards until it is run over by a car. However, it is a well-known fact that cats have nine lives – which the tomcat needs in order to win over the love of his life… This was followed by animation projects such as “Ding”, a music video for the Berlin dance hall combo Seeed and the “Dragon” series, directed by Thomas Schneider-Trumpp. Just like the film “Kater”, the stop-motion film “Tomte Tummetott and the fox” (2007) was also rated “especially valuable” by the Deutsche Film- und Medienbewertung (FBW – German film rating board). In 2007 Tine Kluth moved to London, where she worked for various British animated film studios, including Gutsy TV and Nexus. She has been working as a freelance animator since 2008 for the children’s animation series “Timmy Time” at Aardman Animations in Bristol. At present it is her current collaboration with the cult band, Die Ärzte, which is causing a stir in Germany: Kluth made 32 amusing video clips in co-operation with colleagues for the band’s new album “zeiDverschwÄndung” in which small men represented using mixed techniques chase the musicians through 30 years of band history.

Sat, 12.05. / 9 PM, Gloria 2

In Persona Dustin Grella (New York)

Words appear in chalk on a slate. “Prayers for Peace” (2009) tells of Dustin Grella’s brother who was killed in the Iraq war in 2004. The Akron Art Museum showed “Prayers for Peace” in 2010 for four months as part of an installation. Countless screenings have taken the film to festivals all over the world, including Stuttgart in 2010. Now in 2012 Grella presents his current project “Animation Hotline”: any interested party can use Skype to leave a text on Grella’s voicemail. Grella then animates selected messages in 30-seconds-short films which can be viewed in an installation on 16 large screens in Stuttgart’s city library in April. Metaphors for the impermanence of life pervade Grella’s work. “Glimpse” (2007) is a stream of consciousness narrative about the Lower East Side – the soundtrack is by Gary Michael Millus. For ten years Grella has been writing “Notes to Self”; daily letters to himself. Grella celebrates the obsessive aspects of his work – approaching it like a puzzle; repeating actions until a solution is found. For him it is not the product, but the actual act of creating that is more important and this is what he writes about in his “Dirty Hands Blog”. Dustin Grella grew up in rural Medina, Ohio and studied “Computer Art” at the School of Visual Arts in New York. Grella won numerous prizes prior to receiving his MFA including the Walt Disney Award at the Ottawa International Animation Festival in 2010. Since 2010 Grella has been head of “Dusty Studio” in New York.

Sun, 13.05. / 3 PM, Metropol 3

In Persona Anneliese Klemm (Munich)

 Anneliese Klemm was gaining her first experience in making technical educational films at Epoche-Gasparcolor, before she began working at the Deutsche Zeichenfilm GmbH in 1942. Here, for example, she coloured and outlined the main character in Armer Hansi (1943) for Gerhard Fieber. During this time, she met her later husband Rudi Klemm. From 1949 onwards the young couple lived in Stuttgart. Rudi Klemm cut coloured silhouettes for book illustrations and artistic works. Together they worked with a camera and animated sequences for various directors and contractors: for example for a portrait of Stuttgart’s well-known artist Willi Baumeister (1954) or agricultural training films such as Die Zuckerrübe, Königin unserer Kulturpflanzen (1950). Rudi Klemm died in 1955 at the early age of 51 after a serious illness. On her own Anneliese Klemm managed to gain a foothold in the southern German animated film industry in a very special way. Soon she was not “only” contourist or colourist, like so many of her female colleagues at that time, but achieved an exceptional position for a woman in the industry with her own studio and recording equipment. Important illustrators and directors from Stuttgart and Munich whose films and series were shaping the television of the time drew upon Anneliese Klemm’s experience, craftsmanship, precision and technique. She was involved in the Äffle&Pferdle series (1960-2001) by Armin Lang as well as his film Die Propellerinsel (1974) adapted from Jules Verne. She worked with Roland Töpfer, the creator of the little HB man, exceptional artist Flo Nordhoff and directors Jo Martin and Lajos Remenyik. She made Unser Garten (1976) with the latter. A film discussion with Anneliese Klemm including films and film excerpts, photos of her work and graphic works. (André Eckardt, German Institute for animated film)