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  • Scum Mutation
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part of
double bill #12

Scum Mutation

Ov, France, 2020, 10’
Annecy

2021

Festival du nouveau cinéma

2021

In this cyberpunk animation, four creatures wobble like marionettes in a black void. Bent, with bulging or thread-thin limbs, their skin turned inside out: human anatomy has mutated. An alien power tries to subdue them; police voices strike as if they were truncheons, but these vulnerable bodies start to fight back. Scum Mutation takes us into the battle zone of radical feminist protest—the film becomes a resounding beacon of reconquest.

A film as an emancipatory response to rage. A depiction of societal, accepted violence—“our bodies are occupied territories”. But then these territories are reclaimed by complex bodies that are both fluid and incarnational; bodies that know how to fight back and form collectives; bodies that, despite all hostility and oppression, find the strength for a decisive liberation strike. The film deals with police violence, rape, fear, post-traumatic stress disorder, and the (queer-) feminist radical response to intolerable conditions. Conceived as a testimony, Scum Mutation finds its allies in the viewers and listeners, who engage with invented digital bodies that nevertheless seem to be made of flesh and blood.

Borjana Gaković

Scum Mutation by Ov is a physical experience, a cyberpunk animation that hits all senses. Resistance becomes visible, audible, perceptible, and tangible. In this empowering 10-minute ride, we can learn a lot, for example, how to locate ourselves in a supposedly bottomless space. We learn to process trauma through solidarity, and we learn to scream out—strategies of survival in an alienated world.

Borjana Gaković

Credits

Script
Ov
Editor
Ov
Sound
Ov, Raphaëlle Duquesnoy
Film school
Le Fresnoy
168
animation experimental politics queer

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The White Elephant

Shuruq Harb, Palestine, 2018, 12’

Using images shared on the Internet by Israelis during the Gulf War, the First Intifada, and trance music gatherings, Shuruq Harb paints the portrait of a Palestinian teenager in the 1990s. In the midst of Israeli pop culture and the political climate of the Oslo Accords, she comes to grips with her anxiety.

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In Curve Notes _ Stream

Flavia Regaldo, Portugal, 2023, 7’

Hand-painted watercolours explore bodies, desire, and the tension between both in this experimental animated film. Due to an explosion of colour and movement that escapes classical animation, an unusual sensorial force is achieved. Alternating colours, lines, and density, the drawings question pornography and normative sexuality.

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Snow Edge

Juan Francisco Rodríguez, Colombia, 2021, 15’

The thaw of the so-called eternal snow of Páramo, a neotropical alpine ecosystem in the high Andes, exposes a layer of meaning about the origins and survival of the landscape.

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À Gis

Thiago Carvalhaes, Belgium, Portugal, 2017, 20’

The Brazilian trans woman Gisberta lived as an immigrant in Portugal. After she was brutally murdered, she became an icon for the transgender rights cause.

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The Hymns of Muscovy

Dimitri Venkov, Russia, 2018, 14’

The Hymns of Muscovy is a trip to the eponymous planet, which is an upside-down space twin of the city of Moscow. Gliding along its surface, we look down at the sky and see historic architectural styles fly by—the exuberant Socialist Classicism, aka the Stalinist Empire, the laconic and brutalist Soviet Modernism, and the hodgepodge of their contemporary knock-offs and revivals.

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Downside Up

Tony Hill, United Kingdom, 1984, 18’

With a single camera movement, this film explores humankind’s relationship to the ground. The viewpoint continuously changes. Places, objects, people, and events come in and out of focus. These observations gradually speed up and reveal a double-sided ground, flipping like a tossed coin, which then slows again to oscillate around the Earth’s edge.

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Impossible Figures and Other Stories II

Marta Pajek, Poland, 2016, 15’

A woman trips and falls while rushing around the house. She gets up only to discover that her home has unusual features—it is built from paradoxes, filled with illusions, and covered with patterns.

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On Its Way Down

Sebastian Schaevers, Belgium, 2022, 22’

Zinal, a small town in the Swiss Alps, looks straight up toward the melting glaciers of the Couronne Impériale. The townspeople struggle with nihilistic indifference. When the threat is so immediate, and their powerlessness so great, can their response be anything other than cynicism? Then a paraglider falls mysteriously from the sky, and Zinal starts to change.

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