Interview With Max Andersson
Max Andersson, juror on this year’s Animateka, is known internationally mainly for his work as an author of alternative, artistic comic books such as Pixy (1993) and Death & Candy series (1999 -2005). Andersson debuted as a filmmaker at the age of 22 with a brilliant animation One Hundred Years (1984), a multidimensional, disturbing metaphor of the repression of the individual by the uniformed society. His latest film Tito on Ice (2011), which had a premiere on this year’s Animateka, derives from his as much morbid as hilarious graphic novel Bosnian Flat Dog (an outcome of Andersson’s collaboration with Lars Sjunnesson), a surreal journey through the war-torn Balkans. The film crosses the boundaries of conventional genre categories – it is a mischievous combination of documentary, fiction, semi-journalism, gore and stop-motion animation which absolutely carnivalizes post-Yugoslavian mythology and splendidly captures the spirit of the Balkan underground. The “punkish” aesthetics of Tito on Ice is built upon the harsh, unpleasant texture of the picture, as well as the jagged editing often using raw, uncut footage overflowing with notches and stammers. However, what seemingly appears as an uncontrolled stream of images, may be in fact described as structured chaos, or spontaneous improvised order.
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*(LINE OF THE VOICE/REPRESENTATION?!/LINE OF THE ANIMATION)
