Human stories in the automation era;
Deconstruction, an animated trilogy
Animation, Short Film, 2D, 3D, Mixed Media.
Deconstruction is a reflection and symbolic representation of the human condition in a time of uncertainty and control.
Consisting of three animated short films developed over the course of 8 years, this animated trilogy has been created exclusively for theatrical release and has no commercial purpose.
Animated short films made for the theatre
Premiering in the official competitions of:
Annecy Animation Film Festival: The Guardian (2015), Contact (2017), Locarno Film Festival: De Imperio (2023)
the three films analyze both individual and collective challenges in a metaphorical way, their looping narratives are open to interpretations and deliberately avoid constraining the audience to a pre-established path.
De Imperio: Watch the clip ︎︎︎
One strong identity, many different thecniques
Characterized by a distinct black and white aesthetic each film is the natural evolution of its predecessor, both in a conceptual and stylistic way; The shorts seamlessly blend traditional animation, 3D, motion graphics, live action footage and acrylic painting as part of an ongoing aesthetic exploration and despite their differences and the challenges of a mixed-media approach they remain visually and technically consistent, creating a cohesive “Parallel Universe” able to captivate the spectators.
And, exactly creating this Parallel Universe was one of the main production challenges;
How to create something abstract yet understandable?
Metaphorical but at the same time pragmatic?
Everything had to be precisely calculated and designed in order to maintain the credibility of each sequence, open enough to individual interpretations yet perfectly shaped to fit the entire trilogy narrative.
“Nothing is obvious; it is always unexpected and not always immediately understandable because of its multiple layers”
On De Imperio, MotelX 2023, best short film jury statement
Multiple interpretations for multiple audiences
Each of the three films explores a different narrative structure and is far from following any standard storytelling approach; while De Imperio, last chapter of the trilogy, sees different stories and timelines coming together just during the very end, The Guardian and Contact are characterized by a single continuous long shot, using seamless transitions to immerse the viewer in a fluid dream like experience.
The shorts are deliberately layered with multiple overlapping narratives, allowing the audience to read and understand the films on different levels; Literally , symbolically or metaphorically.
Deconstruction is a series designed to be timeless and contemporary, rooted in existential and political themes and with an exceptional world building; It is the example of a bold and thought provoking visual experience, free from conventions and refreshing in its narrative approach.
A long train to keep on tracks
Challenges may arise in every production, but in independent one, like ours, they can be completely destructive. From the beginning my objective was to mitigate risks and prevent any possible issue, believing that a good production is based on preventing problems before they happen rather than fixing them on the run and maybe change the nature of the project itself. I created a plan B and C for several shots the team and I were not completely confident about, exploring some smart alternatives which will modify the technical or visual aspect of the shot but not its meaning and artistic value inside the whole production.
We designed alternative shots for De Imperio and considered the possibility of 3D develop and texture specific simulations in order to save time and production costs, for Contact we filmed precise shots to avoid relying completely on archive footage or acquiring copyrighted material, while for The Guardian we created the hand painted look in order to blend together the numerous softwares outputs we were generating that were completely impossible to stitch together.
My idea was to use obstacles to refine my vision, pushing creativity not to avoid challenges but to transform them.
Audio is 50% of any theatrical production, so we went Atmos
In many productions, audio seems an afterthought, left for last and not considered as fundamental as for example good animations or good editing. I see it differently; Sound and music, I believe, drive people more than impactful images and a great production can be completely ruined by a mediocre sound direction.
This is why during the development of the Deconstruction trilogy we shifted from 5.1, of the first two chapters to Dolby ATMOS for De Imperio. This immersive and not widely spread technology helped me and my team level up the spatial aspect of the short widening its narrative outside the screen. The extra spatial control and the more “volumetric” direction approach helped us creating a more immersive experience for the audience, elevating the quality of the project which became a masterclass in sound design.
”It is not a narrative short film, but rather an intertwined union of ideas in an artfully poetic audiovisual piece”
From “Todo se conecta, lo real es irreal y lo irreal real: Contact” article by Silvia Carpizo de Diego
Three countries for an international effort
Developed across Italy, Spain and Portugal, the trilogy is the result of multiple long term international collaborations bringing together over 40 creatives under my direction and leadership. From layout artists to 3D designers, musicians and traditional animators the three shorts had always been kept “open” to feedback and team implementation making them a real collaborative setting.
A place of narrative and artistic exploration meant to meaningfully entertain the audience and consolidate my director approach to both authorial and commercial productions.
The Guardian: Watch the full short film ︎︎︎
Animation as a fluid medium
Deconstruction is more than a series of shorts; It proves how animation is an incredibly fluid medium able to embrace, contain and push forward unconventional narratives and experimental aesthetics in a time where “copycutting” seems to be the new norm.
Contact: Watch the full short film ︎︎︎
Watch now
DE IMPERIO
CONTACT
THE GUARDIAN
Full Credits
DE IMPERIO:
Written & Directed by: Alessandro Novelli, Produced by: BAP Studio, Co-Produced by: Studio Kimchi, Supported by: ICA.
Music by: Simon Smith Sound Design: Jonathan Darch & Simon Smith Animation, In-between & Painting by: Leonor Pacheco, Ines Teixeira, Marta Reis de Andrade, Laura Gonçalves, Alessandro Novelli, Carolina Bonzinho, Maria Francisca Moura, Diana Peixoto, Nurian Brandao, Sofia Bento, Beatriz Rainha. 3D Modeling and Animation by: Studio Kimchi, Ignazio Acerenza, Brian Martinez, 3D Supervised by: Bruno Simões, Additional 3D: Alessandro Novelli, Acrylic Painting DOP: Ivo Cordeiro, Compositing: Alessandro Novelli, Voices by: Jonathan Darch, Luka Peros, Sasha Smith, Leo Smith, Simon Smith, Xavi Lozano, Flute by: Xavi Lozano, Cello by: Sasha Agranov, Viola & Violin by: Aleix Puig, Atmos Re-recording Mixer: Dani Zacarías, Color Correction by: Emilio Sacco at Moonlight Barcelona, Produced by: Vasco Sá, David Doutel, Alexandra Ramires, Coproduced by: Carlota Pou, Bruno Simões, With the Support of: Republica Portuguesa, ICA, With the Partecipation of: Bando a Parte, Newgold, BCNSound, Olho De Vidro, Transperfect Barcelona, Dolby Atmos.
CONTACT:
Written and Directed by: Alessandro Novelli, Produced by: Uniko, Coproduced by: AltContent, Executive Producer: Iván Miñambres, Associate Producer: Arturo Olea, Art and Creative Director: Alessandro Novelli, Original Music and Sound Design: Simon Smith, Animation: Alessandro Novelli, Laura Sofia Gonçalves, Pamela Poltronieri , Christian Müller, Victor Pérez, Ambra Malanca, Painting & Tracing: Christian Müller, Alessandro Novelli, Inês Teixeira, Design: Alessandro Novelli, Christian Müller, 3D Modeling: Joao Lucas, Ambra Malanca, Alessandro Novelli, Victor Pérez, Camera Operator: Giulia Arantxa Novelli, Music Recording and Mixing: BCNsound, Post-production, Editing and Compositing: Newgold. Script Consulting: Simon Smith, VO: Sara Montgomery Campbell, Voice Recording Studio: Imagine Sounds & Visions.
THE GUARDIAN:
Produced and Directed by: Alessandro Novelli, Animation: Alessandro Novelli, Victor Perez, Andrea Gendusa, Illustration and Design: Alessandro Novelli, Karolina Pospischi, Andrea Gendusa, 3D: Victor Perez, Alessandro Novelli, Gabriele Maiocco, Original Music Simon Smith, Sasha Agranov, Voice Over: Luis De Velasco, Music Recording and Mixing: Eric Nagel at BCNSound, Voice Over recording: Juan José Rodriguez at Abuela Records - MX, Mastering: Yves Roussel, Many thanks to: Leandra Boj, Rafael Mayani, Xavier Sanche and Karolina Pospischil for their posters.
