Retrospective

What:     10-12 June 2011, Retrospective of animation films by Gerrit van Dijk
Where:   Cinema Amirani, Tbilisi, Kostava str. 36
When:    10-12 June 2011

“The End”, “Music for the Millions”, “CubeMenCube”, “Quod Libet”, “A Good Turn Daily”, “Pas a Deux”, “I move so I am” – these are just some of more than twenty titles presented at the retrospective of animation films by Gerrit van Dijk. His animation is always an eternal rebellion, a statement interlaced with sometimes very simple and sometimes quite sophisticated stories. Politics, social movements, urbanisation, wars, advertisement, daily routines, love, freedom and powerful figures – all this combined with mixture of various animation forms and techniques turn these movies into thrilling and brilliant pieces of art. Each of them is unique in terms of form and means and each of them is, like a sponge, filled with historical references and allusions.

“The End” for instance, features the cold war between the United States and the Soviet Union. And though the eternal mutual threats between the two military powers are ironically presented as a children’s game on a toy-globe, the imaginary and yet not impossible in those days end leaves a bitter after-taste and a very real, non-playful fear.

Another example is “Pas a Deux”, produced in collaboration with Monique Renault. It tells in its turn a story of female emancipation in the course of the 20th century. The film is the movement itself, an eternal dance in a couple where the partners are changing gradually thus evolving in time. Following the rhythms and the movements of waltz, tango, rock’n’roll and finally, disco, the cult characters of the century appear one after the other in seemingly hazardous and very witty couples. Betty Boop dancing with Mickey Mouse turns into Eve with the snake twisted around, as a reminder of the eternal sin, Che Guevara dances with the American statue of freedom, the blind-folded Roman goddess Justia is turning hand in hand with Don Quixote, and is tearing in the swing the bandage off her eyes... Is it a loss of impartiality of the justice and a reference to the nowadays’ corruption? Or is it a figure of a woman liberating herself from prejudices imposed by society and opening her eyes to the reality? The beauty of Van Dijk’s movies is in their flexibility and a complete freedom of interpretation, where every viewer can see his own story based on his own associations.

A mesmerizing visual row or a movement of masterful scenes from political and artistic background? A hilarious protest against social norms or a deep existential philosophy? – All that at once and even more because these films will receive a new “mythology”, a different significance, a special, Eastern look from the Georgian cinema-lovers who will find in the films their own cultural and historical colours.

See film program >

 
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