![]() ![]() Soaked in machismo, its story of a Green Beret team battling a rampant cyber-grizzly is an ironic commentary on the love of guns that leads inevitably to annihilation for all. Also relying on 2D techniques is Kill Team Kill, directed by Jennifer Yuh Nelson from the story by Justin Coates. With its trippy images of giant rock formations metamorphosing into female statuary, the film channels the French comic Metal Hurlant and the vibrant art of Moebius. Emily Dean’s The Very Pulse of the Machine, adapted from Michael Swanwick’s story, relies on a more traditional 2D look to tell its tale of a marooned astronaut sinking ever-deeper into a hallucinatory trance as she treks across the surface of Io. This particular short film is filled with dread from beginning to end.Īll of the above use 3D animation techniques to present vividly-rendered worlds of the imagination. Nowhere is this idea more starkly presented than in Jerome Chen’s In Vaulted Halls Entombed, from the story by Alan Baxter, in which soldiers encounter a colossal Lovecraftian god in a hidden underground tomb. Thus is established another of this season’s themes – the lowly place of humans in the vastness of the universe. Like the thanapod in Bad Travelling, a newly-evolved intelligent alien is able to communicate by puppeteering a human victim. #Ue4 tiltshift full#Human researchers investigating an alien hive inhabited by multiple castes of insects, in a sci-fi tale that allows Miller and his artists at Blur Studio to give full rein to their creativity, conjuring up a truly dazzling outer space realm. #Ue4 tiltshift series#There are more bugs in Swarm, adapted from the Bruce Sterling story and directed by series creator Tim Miller. This is a psychological thriller masquerading as a visceral thrill, in its own way just as subversive as Jibaro, and no less disturbing in its exploration of the dark side of the human soul. Through his confident mastery of the cinematic craft – in particular his effortless use of the camera to penetrate three-dimensional space – Fincher dials up the tension, the dread and the claustrophobia on board a sailing ship whose crew are attacked by a ‘thanapod,’ a bug-like sea monster. ![]() Just as visceral is David Fincher’s Bad Travelling, adapted from the short story by Neal Asher. Without question, this film is a subversive masterpiece. Likewise the savagery of the lovemaking, where we see the conquistador and the siren drawing blood with each ferocious kiss, serves to heighten the sensory experience for the viewer. The Golden Woman’s destructive urge is a part of her nature – a curse that, when lost, brings her inconsolable grief. While Jibaro is undoubtedly violent, there is nothing gratuitous in the bloodletting. Meanwhile, both creatively and technically, the rendering of the Golden Woman herself, with her jangling adornments and sinuous movements, is nothing short of breathtaking. The meticulous visual details, combined with a sound design that seamlessly blends audio effects with a dissonant musical score, create a powerful and ever-shifting tapestry of noise and light. Sound and vision merge to create a hallucinatory collision of the senses, yet the result is far from chaotic. This ambiguity is not the only way in which Mielgo breaks the mold. No sooner has he established the conquistador as the hero than he deftly turns the tables and demands that we feel sympathy for the Golden Woman, the mysterious siren who has just massacred all his comrades. A deeply impressionistic work of art, this film cements Mielgo’s reputation as a master of shifting viewpoints. ![]() The most disturbing story of all – in the best possible way – is Alberto Mielgo’s stunning Jibaro, a mesmerizing original ballet about a violent seduction of a deaf conquistador by a gold-bedecked siren. In his 1920 essay Beyond the Pleasure Principle, Sigmund Freud expounds on the human urge for destruction, which he refers to as Todestrieb or ‘death drive.’ The death drive dominates almost every story in season 3 of Love, Death + Robots, Netflix’s anthology of animated shorts, which uses every trick in the book to explore our overriding fear of death, whether by the use of disturbing grotesquery, quirky humor, visceral action, or by provoking a pure adrenaline rush. Maria Elena Gutierrez CEO & Executive Director, VIEW Conference ![]()
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