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Yahoo
a day ago
- Entertainment
- Yahoo
Estonian Puppet and Stop-Motion Animation ‘May Not Be Mainstream, but It's Still Thriving'
Fashions come and go, but Estonia is still betting on puppet and stop-motion animation. 'It may not be mainstream anymore, but Estonian stop-motion is still thriving, with many directors choosing it as their main style. It's taught in the Estonian Academy of Arts on a very high level, so future generations could also fall in love with the technique and preserve it in their art,' says Rebel Frame producer Kadriann Kibus. More from Variety Baltic Animation Still in Full 'Flow': 'Smallness Can Be a Superpower' Ubisoft, Netflix Share Early Look at 'Splinter Cell: Deathwatch' in Annecy's First Work-in-Progress Session of 2025 Echoes of Childhood Lost: 'Allah Is Not Obliged' Brings Potent Animated Recollection of Liberian Wars The studio – alongside with the Academy – recently celebrated Natalia Mirzoyan's win at Cannes' La Cinef for 'Winter in March.' 'My plan was to come to Estonia to study puppet animation, because it has wonderful traditions. I wanted to learn from Anu Laura Tuttelberg ['Winter in the Rainforest'] and Ülo Pikkov ['Body Memory'],' says the Armenia-born director. In the film, she talks about Russian emigration following the invasion of Ukraine, combining documentary and road movie. While her chosen technique is that of puppet animation mixed with embroidery and fabric manipulation, 'materials are sometimes sewn accurately and sometimes more roughly to emphasize the meaning of each scene.' As a minority co-producer, Rebel Frame is also working with Lithuanian studio Akis Bado on puppet film 'Glass Elephants.' 'One of our studio founders and owners, Sergo Kibus, used to work for a decade in Nukufilm before we established our own studio,' explains Kadriann Kibus. While Nukufilm works in stop-motion technique, newer establishments also picked up the technique, she notes. 'There's also a separate niche, stop-motion cut-out, that's popular in Estonia.' While the country is ready to celebrate the 100th birthday of Heino Pars, one of the founding fathers of the Estonian puppet animation, Nukufilm – established in 1957 – will be turning 68 this winter. 'All that time, we've done different kinds of stop-motion films for different audiences – both for children and adults,' says producer Kerdi Oengo. Among the company's award winners, 'The Master' by Riho Unt was noticed at Annecy and 'Dog Apartment' by Priit Tender was shortlisted for the Academy Award only last year. Current films are made in the style of 'classical puppet [animation], although the artistic style of each film is very different.' 'We have just released one film, another will be released later this year, we have three in production and two in the development stage. We can say that the overall situation in animation in Estonia is good. Mari Kivi has just completed her debut, and Jonas Taul is finishing his second short.' Kivi's 'Eating Time' sees a woman literally eating her way through time, triggering a time shift. Taul's 'A Serious Thought' follows a boy pondering his place in the universe as he goes to bed. But if Earth is just a 'tiny marble floating in space,' does his existence matter? Nukufilm is also overseeing 'The Big Other' by Andres Tenusaar, Kalju Kivi's 'My Friend the Cucumber' and a co-production with Latvia: 'Nesting' by Anna Zača. According to Oengo, the industry is bound to see more and more co-productions due to lack of sufficient financing from one country. 'Stop-motion is more expensive in comparison with computer-made films, and co-production is also trickier. Since there are actual puppets and sets, a major part of the film can't be done online. It's a problem, and a struggle, to establish a smooth workflow, it includes more travelling and more understanding from financiers. But we're trying to survive in an unstable world.' Producer Edina Csüllög agrees: 'Greater emphasis on co-productions would be beneficial.' Csüllög's recent films, 'The Shadow of Dawn' and 'Flow of Being,' the latter combining stop-motion, sand animation, cut-out and 2D, have already hit the festival circuit. There's a strong pool of talented animators in Estonia – but not enough opportunities. 'I work with numerous foreign colleagues who chose to stay in Estonia as animation directors or creators, but it's often nearly impossible for them to access local funding to complete their projects. It's a pity, as there is a wealth of talent, and many come from countries where animation funding is limited or non-existent.' Erik Heinsalu (Grafik) is producing stop-motion short 'Uka-uka,' to be released in 2026, which will mark Henri Veermäe's debut. 'In Estonia's animation scene, films are often made thanks to the passion and dedication of professional enthusiasts. However, funding remains limited. This means we must be very creative throughout the production process,' he says. 'Uka-uka' is a dark comedy set in the early 2000's Estonian countryside. 'This duality of old and new will be reflected in the techniques and materials used in the film – for example, we intend to use old Soviet camera lenses. The main idea is to look at the world through the eyes of a child. To see what we, as adults, might miss.' 'Animation in Estonia and the Baltics seems to be blossoming, but shorts are on a 'poorer' side. It's not easy to screen [your works] and it's hard to find money. In the ideal world, it would be easy to fund a new project with previous works' screening fees, but we can only dream about it,' explain Piret Sigus and Silja Saarepuu in a shared statement. Their indie cut-out animation studio Animailm has delivered 'The Turnip' and 'Robot Leo,' but – as many other creators – is also open for external collabs. 'We offer studio space, skillful hands and bright ideas,' they say. Oskar Lehemaa's 'stop-motion love' started all the way back in childhood, when he saw 'the slightly jagged and eerie movements of the first 'Wallace and Gromit' short on TV.' While he describes himself as a 'newcomer in the animation world,' Lehemaa co-directed outrageous comedy 'The Old Man Movie,' about a dramatic search for an unmilked cow, and 'The Mystery of Missing Socks.' 'I just love the texture and the tangible quality that stop-motion can offer. Sure, you can create pretty much anything on a computer, including a decent 'stop-motion look,' but its actual restrictions – real puppets, sets, camera and lights – inform the work. It becomes a part of your art.' Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
Yahoo
5 days ago
- Entertainment
- Yahoo
Post ‘Flow,' the Baltics Bring a Magnificent Seven of New Animation Titles to Annecy
From spicy stories, inspired by a Chinese erotic novel, to buckets of very dry humor and even a blond penguin – the Baltics try to cover it all in new projects presented at Annecy. As observed by Lyza Karoly Jarvis from Estonian Academy of Arts, the region is 'booming with new and fresh energy in the animation scene. In a time when almost anything is possible, I feel that we take that limitless possibility seriously in our creation. The Baltics have always been a place to find interesting and passion-filled work, but you see it especially now with an ever-growing interest in animation and new generations of filmmakers. The success of 'Flow' feels like the universe acknowledging this passion.' Here's a look at what's in store. 'Adult Bedtime Stories' More from Variety Crunchyroll Secures Key International Theatrical Rights to 'Jujutsu Kaisen: Hidden Inventory / Premature Death - The Movie' (EXCLUSIVE) Estonian Puppet and Stop-Motion Animation 'May Not Be Mainstream, but It's Still Thriving' Baltic Animation Still in Full 'Flow': 'Smallness Can Be a Superpower' Estonia About to be presented at Annecy MIFA pitches for TV series, this project sees Kaspar Jancis – known for 'Piano,' 'Cosmonaut' or feature-length 'Captain Morten and The Spider Queen' – continuing his collab with Rebel Frame. The show's pilot, 'The Dog,' is inspired by a chapter from an ancient Chinese erotic novel, with images made from original Chinese paintings and traditional music performed by Wu Man. 'While the stories we adapt for the screen are humorous, absurd, obscure and witty, the format also offers visual eye-candy and even educational aspects,' assures producer Kadriann Kibus. 'Surprisingly, these ancient stories often resonate with modern times.' Sex is not the main focus of the series, however. 'It's simply a connecting theme. The primary goal is to give the audience a time-travel experience by reviving old stories, graphic styles and music. As we are treating the subject matter rather symbolically, there's not much explicit material that would need to be censored. We believe the series will be a fun and aesthetic viewing and are now looking for a broadcasting or streaming partner.' 'Cleanliness' Latvia Andrejs Brīvulis' 2D digitally drawn animated short film – spotlighted as part of the Graduation Films competition – is based on the poem by Kārlis Vērdiņš. Representing the Art Academy of Latvia, Brīvulis dives into a – very detailed – account of a day in one office worker's life. He meets a man, takes showers, replies to messages and enjoys sexual fantasies about the next possible conquest. But there's already someone waiting for him at home. 'Similarly to other poems by Vērdiņš, it's characterized by an ironic view of social conventions, cultural and literary traditions, as well as portrayal of kind-hearted humor, eroticism and human love,' explains the director. 'I believe the Baltics have a rather unique handwriting in the films they make. There's a large variety in the stories being told and unique perspectives that differ from traditional western cinema. We are still lacking actual animators who can do the work, as well as the amount of financial aid available from state foundations. Often, the only way to make features is by co-production.' 'The Diffusion Pilot' Estonia Director and audiovisual artist from Lithuania, Aurelijus Čiupas, reflects on some timely dilemmas dividing the industry. In his short essay film, playing with the legacy of video art, an animator navigates the conflicting implications of generative AI: a technology that both empowers and overpowers the notion of creativity. Another intriguing proposition from the Estonian Academy of Arts (see below). 'Luna Rossa' Estonia, France Priit and Olga Pärn – who also co-directed 2010 'Divers in the Rain' – make it all the way to the festival's main short film competition this year. Combining classic 2D hand-drawn animation with mo-cap technique, their film explores such themes as surveillance, love, alienation, and human need for belonging, 'presenting them poetically with a touch of absurdity,' says producer Kalev Tamm at Eesti Joonisfilm. Priit Pärn, known for 'Breakfast on the Grass' and 'Night of the Carrots,' is fresh off multiple Lifetime Achievement awards, including one at the European Animation Awards. 'I think this quote by the Estonian ambassador to Portugal, Moonika Kase, sums up his importance as an animation auteur quite well: With his unmistakable graphic style, eccentric and subtle sense of humor, and highly original storytelling, Priit Pärn has established himself throughout his career as one of the most recognized artists in Estonian and world animation.' Emmanuel-Alain Raynal and Pierre Baussaron (Miyu Productions) are also on board. 'Poppy Flowers' Estonia Evridiki Papaiakovou takes on difficult relationships in her short, as a daughter tries to reconcile with her mother. Memories of their shared rituals come in handy. 'Poppy Flowers' is one of many recent successes from the Estonian Academy of Arts, like Natalia Mirzoyan's 'Winter in March' and interactive installation 'God Seed'. As noticed by Lyza Karoly Jarvis, project coordinator and distributor, the school delivers films 'in a plethora of techniques and genres, each showcasing the student's individual artistic expression, identity, philosophies and perspectives on the world. Some are more humorous observations of people and situations, while others are more contemplative. This year we have three 3D films, four puppet and seven hand-drawn films,' she says, noting that students were energized by 'Flow's' success. 'I saw their excitement when we got the news that it won [the Academy Award]. It motivated them. There is a new feeling in the air of possibility, of potentially being able to reach an audience we assumed we couldn't reach before. The world should keep an eye out for the Baltics.' 'Saima – Scenes from a Midlife Crisis' Estonia, Croatia, France Heading to MIFA pitches for feature films, it's the first feature film by Estonia's Chintis Lundgren and Draško Ivezić from Croatia. Before, they have delivered 'Manivald' and 'Toomas Beneath the Valley of the Wild Wolves.' The story – set within the same universe – sees Saima, a 40-year-old judge, sensing trouble when her beloved Ludvig grows distant during a work trip. Then, a package containing a mysterious wooden frog arrives at her office, and Ludvig admits to an affair, confirming her fears. Produced by Marianne Ostrat, known for doc 'Smoke Sauna Sisterhood,' the film 'allows audiences to laugh off the turmoil of navigating personal pain, existential crises and the chaos of midlife transformation,' she observes. 'I wasn't really planning to venture into an animated feature next, but the stars aligned: Chintis and Draško – who are also Sundance alumni – invited me to join their project. I'm very excited to bring the audiences, who received my previous film so warmly, another cinematic experience.' 'Thelma's Perfect Birthday' Latvia, Luxembourg Directed by Reinis Kalnaellis – and shown in Annecy Presents – this feature-length film for children and families was produced by Rija Films and Paul Thiltges Distributions. It tells the story of young penguin Thelma with curly blond hair, enjoying her calm life in a snowy village. Thelma can't wait for her birthday, which is only days away – after all, she doesn't want to be four years old forever – but the preparations don't go as planned. Still, what seems like a disaster turns into a life-changing adventure. 'Though colorful, sparkly fantasy for young audiences, the film tackles universal themes like societal pressure, emotional intelligence, and individuality,' says Kanaellis, also behind 'Singing Hugo and His Incredible Adventures.' He wants to 'build bridges' with his work, he admits. 'Both narratively and structurally. Working with modest budgets, Baltic creators excel at turning constraints into stylistic strengths. I'm currently focused on upcoming projects that will be rooted in dark humor and absurdity.' Best of Variety 'Harry Potter' TV Show Cast Guide: Who's Who in Hogwarts? 25 Hollywood Legends Who Deserve an Honorary Oscar New Movies Out Now in Theaters: What to See This Week
