An interesting article in the prestigious UK magazine Sight&Sound:
“…Theodore Ushev has rapidly emerged as one of the most exciting, relevant and provocative of contemporary animators, and his work will surely become more widely known to general audiences in the coming years. Of Bulgarian origin, with a background in poster design, since moving to Canada in 1999 he has garnered increasing acclaim for a series of films produced at the NFB, with 2011’s Lipsett Diaries [watch it at nfb.ca] probably being the best known.
His ‘3D trilogy’ (2006’s Tower Bawher wasn’t conceived as a 3D film but was retrofitted to create a stereoscopic version) are what he terms “poster films”, designed to grab the attention, to provoke a reaction and speak to the soul. They’re also tributes to modernist art movements like constructivism (in the case of Tower Bawher) and Vorticism (this year’sGloria Victoria):
Music is of fundamental importance: Ushev has said he doesn’t choose his music, it chooses him. It’s true that once you have heard Shostakovich’s Leningrad Symphony (No. 7) paired with Ushev’s imagery in Gloria Victoria it will be very hard to separate them again.
These are all great films, but does the 3D add to them? Here, most certainly, especially in 2008’s Drux Flux, which builds a montage from shots of a decaying 19th-century German foundry, mixing documentary with abstract animation.
Ironically, 3D imagery, particularly computer animation, can lack in texture, almost losing depth, but the woodcut-style poster graphics of Gloria Victoria retain a glorious inkiness to them. 3D and the ‘poster film’ seem a perfect fit…”