Jeu (2006) Poster

(2006)

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cinanima 2007
RResende10 November 2007
musical video clip

This is basically about transforming music (here a Prokofiev concert) in a soundtrack. And the chosen path is to do it in an abstract free of a story line way, freely playing with shapes which are always changing and adapting, colors (red, yellow, cyan) placed with different positions and effects and movement. So, experimentation is the key concept, and there are some interesting results from time to time.

I specially enjoyed that allusion to the dot painting of Seurat or Pissarro. It was very interesting the way the dots (red and yellow) moving over a cyan ton last plan created a great sensation of water fall, or moving water. Impressionists would have loved this.

The idea of circular motion in terms of composition (and in many individual elements inside that composition, like the initial numbers turning into other numbers by circular movement) is also interesting.

But all this lacked some unit and despite its less than 4 minutes long, it has (too many) partitions and unlinked portions. That's its flaw

My evaluation: 3/5 interesting as an experiment.

http://www.7eyes.wordpress.com
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9/10
Schwizgebel dazzles again
Polaris_DiB23 November 2008
Warning: Spoilers
The director of La Course a l'abime and L'Homme san ombre returns with yet another animated painting in Escher-movement. George Schwizgebel has a real eye for morphing forms and infinite redefining of perspectives. This time, instead of going around in a circular motion of what is apparently an entire canvas, the approach is more fractal-like in that it consists of a long zooming-out of detail enriching further detail, then a reversal that reveals the ending.

I have to admit, he can do it as many times as he wants and it'll never cease being interesting. This is partly due to the fact that his animations are, like Escher's designs, maddening. Unlike Escher's designs, they are also moving by quickly, sometimes too quickly to take in all that's going on. This kind of thing you can watch over and over and over again and probably get frustrated out of your mind trying to keep up with how one thing simply transforms into another. OR, as I've realized after viewing and reviewing the other two shorts I've mentioned, you can just sit back and let it flow. The latter approach is much more recommended, as truly the motion, color, and composition of Schwizgebel's pieces are beautiful unto themselves. Besides, he keeps putting more and more figures into the composition, which lend them to even more complicated morphing. At this rate who knows what all he'll include next.

--PolarisDiB
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