“Dahlia” by Ana Mouyis: An alternative narrative to mental illness
Easle Animator Ana Mouyis released her second animation film. She depicts depression and love through colourful and stunning images. Full video at the end of the article.
Easle: Where did you find the inspiration?
Ana: The concept was the starting point. I knew I wanted to make a film about mental illness. All my life my mother has suffered from severe depression and I wanted to create a piece that showed a nuanced look at the experience of depression. Most representation of mental illness are dark, scary and isolated, I wanted to present an alternative narrative. All my life my parents have had a loving and supportive relationship despite the issues my mother was dealing with. My fathers compassion and understanding meant that even though mental illness is difficult it is a part of life and not something that needs to be hidden away or avoided.
Tell us a bit about the films narrative and style
I did not want to create a story that was heavy handed or overtly portraying the realities of mental illness. The beauty of storytelling in animation is in the departure from reality, and so I decided on an abstract narrative with no dialogue, I would use imagery, movement and music to tell the story. I wanted it to be relatable and not to specific. It was important to me that the viewer to apply their own meaning to the story and insert a difficult issue they may be dealing with to the film.
Once I had the story figured out, I worked on the aesthetic. I wanted the style to be expressive, where the movement of the characters and the environment could stir emotions and allow the viewer to get lost in it. I began experimenting and developing a paint-on-glass technique that would be fluid and vibrant — I didn’t want to be limited to paint colors and how a camera would capture the color.
I wanted the world I created to be vibrant and colorful, so I developed a technique where I could hand paint all the characters movements and then color and add details digitally — in this way keeping the expressiveness of hand painted frames and maintain the control of digital color and compositing. This is something I try to incorporate in all of my work, bring all the imperfections and character of hand drawn/painted images to digital media.
Your favourite part of the project?
My favorite part of the process was definitely the character animation. Painting the characters was really fun for me, being able to work with my hands and with real materials instead of just sitting in front of a computer screen all day was great.
Tell us a bit about the creative process
The film took about 2.5–3 years, from the initial concept to release. The concept was developed while I was in Grad school, it was my thesis film. Concept, storyboards and animatic probably took about 1 year, then 6 months — 1 year animating and finishing it for grad school, then once I graduated I spent about 1 year re-working it and fixing scenes I wasn’t happy with and re-edited the sound to fit the new changes.
The song was actually a pre-recorded song by musicians Johnny Ripper and Tom Juno called “odnam”. I knew of Johnny Ripper through musician/producer, Luke Loseth who has worked with me on a number of productions, namely my first film “Pussy!”. When I came up with this idea a few of Johnny’s songs came to mind, I knew his work would fit the film wonderfully. Once I found the song I asked if I could use the song and re-edit it. So I had Luke re-mix the song to fit better with my film.
Do you have some tips for other animators?
I’d say just try to be as authentic as possible in your storytelling, let it come from the heart. Not to say that everything needs to be deeply conceptual and heavy — but it should be true to your own process. There is no one right way to do anything and the most interesting work, in my opinion, is work that comes from a different perspective and has a unique voice.
How did you get your work in front of competitions?
As far as the “how” — its a lot of cold “calling” (emailing really) and submitting to as much as you can find. THEN you have to be ok with all the rejection that comes along with that and not taking it personally.
But most importantly — make good work. Every film I make I try to be better than my last, I look back on all my old work and see the flaws and objectively tell myself what to do better next time. As long as you are always trying to grow and improve your work will be selected for more and more opportunities.
Directed and Animated by Ana Mouyis
Original Song by Tom Juno and Johnny Ripper
Music Remixed and Produced by Luke Loseth
Mix and Sound Effects by Fox Schwach
Additional Animation by Tim Brown and Zachary Zezima
2017 FESTIVAL SCREENINGS
Animafest Cyprus — Nicosia, Cyprus (Best National Animation Award)
Encounters — Bristol, UK
Klik! (European Delight Programme) — Amsterdam, NL
