Tallinn 2022 Kids Animation Programme – part 3

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Self-contained fable Birth Of The Oases (Marion Jamault, France, 9 mins) is a near-perfect portrayal of a symbiotic relationship. The cold-blooded hilltop snake struggles to keep warm while the two-humped camel is constantly exhausted by the desert’s heat. They come to a mutually helpful agreement whereby the cold snake takes up residence on the camel’s humps. This warms up the snake and cools down the camel. After the camel dies from old age, the snake moves around the sand dunes – here designed to look like a never ending series of camels humps – to create first water and later full blown oases which, according to the armadillo revealed as the narrator at the very end, to this very day.

In the black and white classroom of the black and white world of The Boy And The Elephant (Sonia Gerbeaud, France, 7 mins), black and white kids taunt someone who is different – a boy with an elephant head who is coloured blue. One kid, though, takes an interest – a boy who is coloured red, and the two embark on a playground friendship which could be read as a gay relationship, a state threatened by the red boy’s need to conform and revert to fit in with the black and whites. Eventually, a black and white girl takes pity on the elephant head, accepts him and he is subsumed into the group.

Marea (Guilia Martinelli, Switzerland, 5 mins) is another self-contained fable about a family living on an island within an hermetically sealed dome.

Stop-frame marvel Laika & Nemo (Jan Gaderman/Sebastian Gadow, Germany, 15 mins), arguably my favourite film in the programme, again concerns an outsider – a boy who lives in a lighthouse who is regularly tormented by fellow pupils and local fishermen at the harbour for wearing deep sea diving gear. When an astronaut crashes his spaceship near the lighthouse, the two helmet-wearers bond which puts them in a good place for when one of those local fishermen drops a key into the harbour.

Last but not least, The Queen Of The Foxes (Marina Rosset, Switzerland, 9 mins) is a French tale about the saddest member of a group of foxes who is, perhaps for that reason, made their queen. The other foxes’ inability to write hampers their attempts at writing such a letter to cheer her up. Instead, they steal from the nearby town all the love letters people have never been brave enough to send, delivering one which results in the uniting of a happy human couple who write their own letter to the fox queen thanking her for their efforts, which finally does the trick. The foxes then deliver the other letters, and the town windows suddenly become full of lively couples, straight, gay, even a threesome.

Which goes to show that programmes of kids animation can be a lot dirtier than you might expect.

The third of three programmes of Kids Animation shorts plays in the Tallinn Black Nights Film Festival.

Height Of The Wave (Pa-go)

A small island community where everyone knows everybody else. When she was a kid, Yae-eun’s parents were washed away by a wave some 15 feet high. Somehow she remained in the boat, survived and was adopted by a local fisherman (Park Jung-bum himself). However, she is understandably terrified of going anywhere near water or boats. When a new maritime police chief Nam Yeon-su (Lee Seung-yeon) arrives on the island, her daughter Song-yi (Choi Eun-seo) bonds with Yae-eun (Lee Yeon). Both mother and daughter are initially unaware that the island harbours a dark secret around the orphaned girl.

The new chief, feeling her way around, hears of problems with attacks by wild boar. We don’t see much evidence of this beyond one attacked calf carcass and a sequence in which one of the locals guides the police chief out of an area where the beasts are likely to attack. Between them they carry a sheet as, the local reckons, it’ll fool the boars with their poor eyesight into believing there’s a much larger creature there than them.

Chief Nam becomes concerned for Yae-eun who seems to disappear with boys at every opportunity and is overheard to say things like, “it’ll cost you a hundred” and “you still haven’t paid for last time”. There are a mere four young people on the island. They all live in close quarters and there isn’t much there to amuse them.

This is described as a mystery, but to be honest the script telegraphs what’s going on so early and so loud and clear that it doesn’t really work as such. Park was here working on a script by another writer which perhaps explains the overall lack of gritty visuals and the irritating tendency of the film to tell not show its information. Also, the project was originally intended for TV before being later expanded into the theatrical version shown here.

It’s rather more effective on the level of character study of not only the cop but also her daughter and the orphaned girl she befriends and her mum is investigating. There are also a couple of terrific sequences, one involving a teenager with a gun and, almost at the very end, another with Song-yi wading into the sea to encourage Yae-eun to follow her and overcome her fear of water.

Overall, though, this isn’t a patch on Park Jung-bum’s two earlier features which he also wrote himself with no impetus from television. Hopefully, it will turn out to be a minor blip on an hitherto promising career.

Height Of The Wave plays in LKFF, The London Korean Film Festival. Watch the film trailer below: