Sopa Fria
DescriptionAlthough the narration establishes punctual links with the actions, overwhelmingly these actions are complementary to the narration and not its literal representation. Thus, parallel with the narration, the film can be understood as having two levels of meaning. One that is communicated through drawing, associated with actions centered on the protagonist’s day-to-day life or how she interprets what happens to her. The other level will consist of “found footage,” such as photographs or other images, which can either be a scenario or physical space where the narrative takes place, functioning as metaphors, symbols, or other figures of visual and narrative style.
There is a certain fear that victims (of violence) have in verbalizing or reacting. Because when they do they can be beaten again, or else they fear seeing their feelings or their situation treated with indifference. In the film, we will access the protagonist’s feelings not only through gestures or reactions but also by making her inhabit visual worlds (graphics, photographs, or found footage) and sounds that are capable of expressing, for example, anger, sadness, fear, or insecurity. I thought of the House as a character, not just as décor or an element of spatial location, that acts and transforms according to the situation. If the intention is to show that the protagonist is in danger, the house is a hostile place; if it is to show that there is oppression, the House reacts by closing in on the woman, isolating her, or limiting her movements. In addition to being an extension (of the violent nature) of the husband, the House “acts naturally” in the presence of others. Going back to normal or acting normal when the couple is with them (with their children, for example), implies that “whoever is inside the convent knows what is going on inside.”
There is a certain fear that victims (of violence) have in verbalizing or reacting. Because when they do they can be beaten again, or else they fear seeing their feelings or their situation treated with indifference. In the film, we will access the protagonist’s feelings not only through gestures or reactions but also by making her inhabit visual worlds (graphics, photographs, or found footage) and sounds that are capable of expressing, for example, anger, sadness, fear, or insecurity. I thought of the House as a character, not just as décor or an element of spatial location, that acts and transforms according to the situation. If the intention is to show that the protagonist is in danger, the house is a hostile place; if it is to show that there is oppression, the House reacts by closing in on the woman, isolating her, or limiting her movements. In addition to being an extension (of the violent nature) of the husband, the House “acts naturally” in the presence of others. Going back to normal or acting normal when the couple is with them (with their children, for example), implies that “whoever is inside the convent knows what is going on inside.”
Event Type
Computer Animation Festival
TimeThursday, 5 December 20244:00pm - 6:00pm JST
LocationHall C, C Block, Level 4
