Dostoevsky's "The Dream of a Ridiculous Man" tells the story of a desperate man disenchanted with the world and at the verge of committing suicide. But when a little girl comes his way ... See full summary »
In the Russian countryside, a family lives next to a railroad track. A boy remembers when he and his parents had a cow, living off its milk and using it as a beast of burden. The cow has a ... See full summary »
Based on the novel by Ernest Hemingway. Santiago goes out on his usual fishing trip and makes a huge catch, the biggest of his life. Then a shark attacks and tries to steal his catch. ... See full summary »
A reflection of Russian history and memory. Norstein creates a visual emotional response to a changing Russia, followed in the eyes of the Little Grey Wolf spying on various people's lives,... See full summary »
Each frame was made using slow-drying oil paints upon a back-lit glass "canvass." With his fingers, Director Aleksandr Petrov manipulated the oils between frames and photographed the results, then gently molding the oils for the next frame to repeat the process. See more »
The closest way from the heart of an artist to the masterwork:
"The Old Man and the Sea" (1999) directed by Aleksandr Petrov is a 20 minutes long animation based on Ernest Hemingway's 1952 novella of the same name. Petrov's film was awarded Academy Award for Best Animated Short Film in 2000. More than two years of painting on glass sheets, using brushes but mostly his own fingers, resulted in over 29,000 paintings that enabled Petrov to produce this absolutely awesome, one of the kind feast of colors, images, and emotions that celebrate the famous work of literature and its creator. I have watched it perhaps ten times during the last weekend. I am still overwhelmed by its beauty and depth, and the admiration for what human imagination, creativity, and talent are capable of producing. The extremely rare technique made the film both incredibly realistic and magically dream-like. The director himself gave us the key to understanding his work when he explained that painting with his fingers instead of brushes, "is the closest way from the heart to the cartoon". He put his own heart in every scene of the film, and that's probably why every image is alive, breathing, and shining.
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