© 2013 sukimaki animation. All Rights Reserved.
New Face AwardWatch Movie
WHILE THE CROW WEEPS is themed around the primary will and instincts of “living” which only animals possess. Their will towards pure living is poignant, inherently lacking language. The relationship between the baby crow and its mother in this short film tells us that the two contradictory concepts of life and death complement each other, and that it is a relationship of the “pr inciple of participation”. Through the depiction of the baby crow surviving by preying on its mother, who sacrifices herself for her offspring, the film effortlessly transcends the taboo of cannibalism, expressing symbolic imagery of a life fusing with another’s.
Technique: Cut-out pictures and drawings using pigments and India ink; multiplane cameras
© 2013 sukimaki animat ion. All Rights Reserved.
She began to create animations while in school, and studied abroad at a film school in the Czech Republic in 2007. Her first film, “Kagerou (Ephemeral)”, was selected in 2008 for the NHK Digital Stadium (Satoshi Kon Selection). Her films “Yuki wo mita Yamane (Yamane, Who Saw the Snow)” (2010) and “Yamanashi” (2011) have been screened at film festivals both in Japan and abroad. In 2012 she began a stage piece with puppet troop JIJO called “Marionation.” She is also a member of JAA (Japan Animation Association).
He began creating films and taking photos in the early 2000’s. Apart from his own work, he is also involved with various film projects throughout the art scene. In 2005, a collaborative work with Tetsuya Hayashiguchi called “internet images” won the Excellence Award at the Canon New Cosmos for Photography awards. In 2012, a collection of recordings called the “John Cage 100th Anniversary Countdown Event 2007-2012” was completed. While his latest work, “Scene Missing” was screened at AVIFF Cannes in 2014.
This is a powerful new work by SUKIKARA Makiko that depicts the grim reality of living in the wild. The brilliant texture and the accuracy of the portrayal is overwhelming, patiently depicting a cloudy sky at dawn, the thickness of a mist, or how crows rise up one-by-one into the air. And there is no anthropomorphic emotional interpretation whatsoever in the countenance of the crows. The uniform inclusion of a sense of strain in this world, and living and dying in it, is a single large idea, and the crows that live based on this are depicted with majesty. We can expect much from artists who create this kind of selfproduced work. (WADA Toshikatsu)
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