On clay and body boundaries in FLM

FLM writes about clay animation, Judith Butler and the boundaries between object and subject; and about us. Although the article mistakenly assumes The Weapon to be made in clay, its description of the threat of dissolving body parts is far too familiar to us after countless hours of melting vaseline fixatives and lost eyelids. Here an excerpt in English:

In clay film, [body] boundaries are always under the threat of dissolution. An eye can slip to the cheek, the stomach slide down to sex organs and knees, and the legs can disappear into the ground.

It is thus a bit surprising that the new clay [sic!] animation The Weapon, directed by Markus Amalthea Magnuson, Mattias Valenca and Sandra Valenca, takes place in something as clinically sterilized as a space station in a folkhemmet-looking future. But at the space ship Minerva, people are quite human. They fry clay eggs (and comment on the eggs’ fake nature), pick on each other, fight and cry clay tears, elevating the abject to an astronomical level.

As impressive as the detailness of the animation, is the producers’ marketing strategy. How many short films produced with tiny budgets, far from established production companies, get a review by Gunnar Bergdahl in  Helsingborgs Dagblad?

Note: Gunnar Bergdahl is a well-known Swedish film critic and the former head of Göteborg International Film Festival; the most important film festival in the Nordic countries.

Sorry for the lousy translation, FLM is really to be read in Swedish.

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