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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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On the outskirts of the city, the new modern buildings are silent, and the motorway bridge drones. Birds are circling in the sky, and a young man, concealed by his hoodie, is riding his e-scooter along a park path. The only irritating element is the rifle over his shoulder. Cyclepaths conveys a mood of high alert, even though the disaster has, in fact, already happened.

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Elettra Bisogno, Hazem Alqaddi, Belgium, Palestine, 2019, 16’

Old Child depicts the fragmented story of Hazem, who had to flee Gaza. Throughout this stream-of-consciousness montage of dreams and reminiscences, he searches for order but also for the beauty he left behind.

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Swollen Stigma

Sarah Pucill, United Kingdom, 1998, 21’

Swollen Stigma is a visual, surrealistic narrative about a woman travelling both literally and psychically through several rooms. Memories, or fantasies, of another woman, fill her imagination. The film proposes lesbian imagery, and its shifting points of view jump between the protagonist, fantasy spaces, and her lover, making an internal world leak into what is external.

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