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- You are here: Home > FREEZE FRAME
You are here
Online -
Thursday, November 26, 2020 - 21:00
Written by:
SOETKIN VERSTEGEN
Sound:
Andrea Martignoni, Michal Krajczok
Animation:
SOETKIN VERSTEGEN
Producer:
Soetkin Verstegen
Freeze frame: the most absurd technique since the invention of the moving image. Through an elaborate process of duplicating the same image over and over again, it creates the illusion of stillness. In this stop-motion film, identical figures try to perform the hopeless task of preserving blocks of ice, like archivists. The repetitive movements reanimate the animals captured inside the blocks.
Director:
Born in 1982, Belgium. VERSTEGEN studied audiovisual arts and scriptwriting at Sint-Lukas Brussel, Belgium, LUCA School of Arts, alongside Cultural Studies at University of Leuven, Belgium, and Stop-motion Animation at the Bristol School of Animation of the University of the West of England, UK. While living in Portugal, Berlin and Belgium, she worked as a freelance animator, puppet maker and set builder on stop-motion productions for television and film. In 2015 she received the Anidox:Residency, a one year program for the production of hybrid animated documentary films, at The Animation Workshop of VIA University in Denmark. Her short MR. SAND (2016), was selected for over sixty film festivals, and received several awards. Her latest work is the short FREEZE FRAME (2019), which was presented at Clermont-Ferrand ISFF 2020 and took home the Special Jury Prize (Lab Competition).
Contact:
Toril Simonsen - Head of International Relations, short and documentary films
Festivals, awards:
Special Jury Prize Lab - Clermont-Ferrand International Short Film Festival 2020 / Jury Distinction - Annecy International Animated Film Festival 2020 / Grand Prix - Monstra Animation Festival, Portugal 2020 / Chris Frayne Award for Best Animated Film - Ann Arbor Film Festival, USA 2020
“The figures are taken from an actual practice, the ice harvest. When you look at this practice and strip it of its use, you get a surreal, poetic ritual. Figures cutting the floor from under their feet, dragging home a beauty they know will disappear. On one hand you could look at them as factory workers, but to me they choose to drag their cubes. To me they are film archivists, battling the decay of the fragile celluloid image. The repetitions and movements of their actions have something interesting and beautiful in itself, like dancers.” (SOETKIN VERSTEGEN, Schloss Post)