Bloody Diary

Asian animation keeps its influential position in the festival world, especially because the geography of Asian countries where animation is developing, widens every year. Among the relatively new locations is Singapore, where the Government is actively investing in the animation industry. But festival favourites are still films from South Korea, works by independent Chinese directors, Japanese and Israeli shorts, which form the core of the program.

In recent years despite the globalization and the interrelations of various animation trends each Asian school defines its specific character more and more clearly. Thus, independent Chinese films gravitate towards formal experiments: sometimes it is hard to grasp the narrative; in contrast to Chinese mass culture the directors take care not to overuse color (often opt for black-and-white or greyish tones), they deconstruct familiar images, researching harsh forms and movements that are unpleasant to look at. In contrast, Israeli animators prefer heartwarming, poignant, emotional stories and pleasant graphics. Korean cinema exists on the borderline between traditional animation and experiment, keeping the coherent narration and figurative images, but slightly shifting the focus and angle, adding strange twists and suppositions thus turning their small films into amazing, sometimes shocking, sometimes paradoxically funny but definitely unique little masterpieces.

Masha Tereshchenko