Igor Kovalyov
<a href=http://www.acmefilmworks.com/dir_folder ... ilmografía[/b]</a>
Nacido en ucrania en 1954, Igor Kovalayov, co-fundador de la legendaria escuela de animación experimental de Moscú, es un prestigioso animador que basicamente es conocido por ser el creador de series tan famosas como "Rugrats", "AAAHH!! Real Monsters" o "Duckman".
En 1991, Kovalyov aceptó una invitación de Gabor Csupo, para trabajar en el estudio de Klasky-Csupo en Hollywood, en donde trabajó en la serie animada "AAAHH!! Real monsters" y dirigió posteriormente la película basada en la serie, "Rugrats" de la cual es también creador.
Kovalyov mantiene una interesante relación con el estudio, el cual le financia sus cortos más personales a cambio de trabajos más comerciales y este se beneficia del prestigio que suele acompañar los trabajos del animador ucraniano.
Menos conocida resulta sin embargo, su faceta como animador experimental e independiente, con una interesantíma trayectoria que le ha valido una infinidad de premios internacionales por cortos como "Hen His Wife" (1989, Pilot Studio, Moscow), "Bird in the Window" (1996, Klasky Csupo, USA) "Flying Nansen", (2000, Klasky Csupo), "Andrei Svislotsky" (Pilot Studio, Moscow, 1991), o el que nos ocupa, "Milch" (2005, Klasky Csupo).
Milch (2005)
<a href=http://www.imdb.com/title/tt0481578/>IMDB</a>
Milch / Dirección: Igor Kovalyov / Producción: Klasky Csupo / USA, 2005
Dur: 00:15:30 / 35mm / color / 2D computer. Sin dialogos.
[quote]Milch is a wordless but nowhere near silent dramatic piece from long-time Klasky Csupo director/animator Igor Kovalyov. Kovalyov was born in the Ukraine in 1954, and although he first came to Hollywood to work for Arlene and Gabor’s little animation shingle-that-could in 1991, in the intervening time he’s made animated product on both continents. Milch could be Kovalyov mining his childhood, or it could very well be about Russia or Ukraine or Bulgaria as it lives and breathes today.
The centerpiece of Milch isn’t so much the milk as the girl who delivers it. She’s pretty, and the boy of the house is falling for her big time. Trouble is, Dad already has. In fact they’ve probably had an affair. Mom knows, and she’s bitter as hell, which doesn’t make life any easier. Daily household living is the subject of the short, and every family dynamic is exposed, from the boy’s alternating admiration and rage at his father to Grandma’s top-of-the-pyramid role as caregiver to grandson, son and invalid husband.
The narrative unfolds in a city where Russian words are shouted in the street and spelled out on storefronts, but the Cyrillic alphabet is missing; where Stalinist graphics could be archaeological holdovers or tongue-in-cheek advertising appropriations on the side of a bus; where there’s pop music coming from a dozen car stereos but Mom sits at home listening to opera on what looks like a Vietnam-era radar scanner.
So much happens in so little time that it’s difficult to recount the day’s events, but Dad goes off to work and the boy stays home in the darkened flat. Each of them has a confrontation with the girl, and each meeting is folded into a strange moment of fantasy so we don’t know if it’s a vision of narrative or just a wish fulfillment. There are recriminations, toasts, a picked scab, a spool of thread, a random beating in the street and cold cream for Grandmother that glows in the dark.
In contrast with his other shorts, which have featured chicken-human hybrids and worms with human faces who act like puppies, this is the most reality-based of Kovalyov’s works. Like his other shorts — Hen His Wife and Bird in the Window — dialogue has been jettisoned in favor of a cavalcade of tiny gestures and postures that seem to pack the whole history of a relationship into the empty spaces between actions. Everything goes very fast: the most important moments seized, embraced and abandoned as in a Dogme film.
What’s extraordinary about Kovalyov’s animation, and what separates him from geographical neighbors like Priit Pärn, is the depth, the subtlety of the physical motion. A simple scene of Grandma pushing Granddad in a chair across a floor to reach a glass of water, which he tips over, takes on a reality that’s at the same time pathetic, electrifying and undeniable. Plus, and I can’t remember the last time I’ve seen this in animation, Kovalyov’s characters breathe.
Milch is certainly an early contender for an Oscar nomination, and if we’re quite lucky, will appear on a DVD of the animator’s complete works in the near future. I hope so, because then we can all see Andrei Svislotsky again. I saw it once on Bravo 10 years ago, and it lingers in the memory like literature.
- Animation World Magazine - [/quote]
El cine de animación cuenta con una nueva obra maestra de ese genio ruso, llamado Igor Kovaliov.
Milch, es uno de los cortos más hermosos visualmente y más impresionantes desde el punto de vista técnico
(¡¡qué uso más inteligente del ordenador!!) que haya visto jamás.
Sin duda con cada nueva obra, Kovalyov contribuye a enriquecer el lenguaje animado. Los aficionados al medio, estamos de enhorabuena.
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AVI File Details
========================================
Name.........: milch.avi
Filesize.....: 162 MB (or 166,722 KB or 170,723,328 bytes)
Runtime......: 00:15:16 (21,974 fr)
Video Codec..: DivX 5.0
Video Bitrate: 1356 kb/s
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 128 kb/s (64/ch, stereo) CBR
Frame Size...: 672x400 (1.68:1) [=42:25]
milch.avi 
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