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    Europe in Short, Section 1

    17. 11. 2019

    The first part of the Europe in Short section screened on Sunday, 18 November 2019, at the Kinodvor Cinema. Peter Cerovšek and Matevž Jerman, representatives of the Kraken Society for Short Film Promotion, a society responsible for selecting the finest specimens – in terms of both form and style – of the current short film production, conducted the Q&A sessions with two film crews.

    Director Kristijan Krajnčan, actors Matej Puc and Žigan Krajnčan and producer Katja Lenarčič joined the moderators after the screening of The Flood. The idea for the film emerged from an encounter between a father and son. Two worlds – the subaquatic and the mountainous – meet when they find a seashell during a trip to the mountains. K. Krajnčan used this synthesis to create an allusion to the overlapping between reality and the subconscious. Unresolved tensions lead the film deeper into the subconscious and leave the end open to different interpretations. Given that Krajnčan is a jazz composer, a cellist and a drummer, these aspects of filmmaking were also referred to. Krajnčan used several of the music techniques he had acquired as an instrumentalist, from the organised interaction of elements to their narrative dramaturgy. 

    Jon Frickey discussed his exquisite animation, Cat Days, a humorous story about a boy who learns he’s got the cat flu and realises that genetic-wise he might be a cat. According to the director, the idea for the film emerged from “a very stupid” incident – his girlfriend was taken ill one evening in Kyoto, where they were staying temporarily, and Frickey joked: “Maybe you’ve contracted the cat flu.” He then reconsidered this idea, looking at it from another angle, and supposed that a story might be developed around it. But a long journey followed this initial concept: he envisioned Kyoto as the setting from the very start, but the language was meant to be English. He then received a visit from sound editor David Kamp who suggested they use some Japanese music for the soundscape. Frickey eventually decided to record the voices in Japanese – they were read by children who attend Japanese classes in Hamburg, where the animator is based. Frickey also explained that he wasn’t a great fan of anime aesthetics and manga comics, but he liked their “feel”. The making of Cat Days took a year and a half with Frickey simultaneously working on other projects to generate funds for the filmmaking. Nevertheless, he was never fully sidetracked from his film; this is because he earns his living as an animator.

    Written by Nataša Šušteršič

    Photo Iztok Dimc