The film takes place in a textured and painted abstract world, which sets up the scene of our girl and her journey. As the audience are introduced to her, animated typography echoes the words of the poet, as we begin to tell her story. Brushes of black ink begin to build houses, schools and classrooms. The structures and foundations are built, but the buildings are empty. Our heroine, the girl, is alone but silhouetted. In these scenes, the animation brings to life some of the circumstances, barriers, that our girl has to contend with. Her belly grows with an unborn foetus, she is wrapped by a bridal gown, trapped and ignored by the community, until we see her climb stairs of progression, and encouraged to run. As the colours and textures begin to turn golden, our heroine runs, leading a charge, before lifting those around her.
Freuds and Partizan Animation are working with Girl Effect – an organisation with a mission to change the world for girls in poverty, so that they can end the cycle of poverty being passed on from generation to generation. The film dramatises the context that a girl in poverty all too often finds finds herself in: that even when the services she needs are available there are still 'invisible barriers' – existing prejudices and negative social norms – that prevent her from reaching her potential. The poem and the animation bring to life the complex issues that perpetuate poverty for girls and their communities. The poem was developed with Nigerian born poet and writer Bassey Ikpi – known for her socially conscious poetry tackling challenging subjects.
The basis of the animation is traditional 2D animation with pen and ink, and traditional rotoscope techniques. However, with a limited time frame, we combined this with frame by frame photoshop animation, with rotoscoped references. Other elements were also built in 3D (Maya and Max) and then rotoscoped with custom inks and brushes. A library of hand-painted wet and dry textures, colours and brush strokes were built up to create style frames created by Mustashrik. These textures and layers were built in 3D space to give our scenes perspective and depth. Characters were also coloured using background textures, to keep all line work abstract and elegant. To give our film the final look, we used pre-filmed ink in water to create subtle ink explosions. Along with this, composited particles and light grain and colour grading was done in the final week scene by scene.
|Technique:||Abstract, Digital 2D, Rotoscoping, Traditional 2D,|