Brazilian Animator Camila Kater Confronts Female Aging In Debut ‘Carne’

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Awarded in Locarno, El Gouna and Valladolid, "Carne" celebrates and researches femininity in successive stages of life and presents a new study of the taboos of several years that strain the ideas of the female body.
The short film interweaves very different techniques - color, watercolor, stop motion, 35 mm film and virtual image decomposition about disturbances and data changes. Sensory styles correspond to the variety of testimonials in different phases of life of women - "rare, medium rare, medium, medium good and well done", as they are called in the short version. She spoke to Variety about the attractiveness of animation, techniques and references.
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Spain's Abano Producciones and Brazil's Doctela-produced "Carne", which appears in Annecy's main short film department.
Your work seems to meet strong personal needs. But maybe I'm wrong?
The inspiration for "Carne" came from my own experiences, many situations in which I felt like a body instead of a human being. and also stories of women in my life, especially my mother and aunt. Losing weight and dieting were always topics at home and I remember that when I was six years old I was very worried about my body.
What are the specific benefits of animation to convey social messages to a highly international audience?
Animation can create a strong empathy due to its sensory potential. Live action images can do this too, but the animated image can be far more free in its visual form, and this ability, combined with documentary evidence, can express sensations and feelings in a unique and powerful way.
How would you justify your visual approach and why did you choose such different techniques?
The content dictated the form of "Carne". It was already decided that each chapter would be animated by an animator, but the idea of ​​using different media for the testimonials only came after I interviewed the first protagonist, Rachel Patrício. From that point on, I decided to create a sensory synchronicity between the visual form of the animation and the stories themselves. For example, Larissa Rahal talks about puberty and periods and the idea of ​​using watercolor came naturally. The successful chapter is presented by actress Helena Ignez, muse of brAZIL'S Cinema Novo. So using a real 35mm filmstrip as well as painting and scratching seemed like the perfect addition.
Working with very different techniques on a first short film - were you afraid of not achieving a balanced result?
Absolutely. There was agreement on the “meat” color palette, but I feared that the various media could create a kind of visual disharmony. I also decided that there would be no animation transitions between the stories, the film would be divided into chapters, just like the cutting of meat.
What's next?
We start by creating an animated documentary anthology series “Carne”. The idea is a co-production between five countries with interviews and a creative team, including independent animators. We will produce again together with Chelo Loureiro in Abano in Spain. While maintaining the relationship between the roasting phases of meat and the stages of a woman's life, we will examine the relationship of women to their own bodies on a much broader and global scale, and only international diversity and fierce discussions about maternity, post-menopausal sex and child marriage to give an insight into the topics.
What are the main difficulties for a new director trying to make his first animated film in Brazil? Especially now, in the midst of so many uncertainties.
It is the worst scenario for someone who wants to stage their first animated short film. We are completely in the dark about the COVID-19. The number of confirmed cases in Brazil is only behind the USA. Since the last elections, the same government that is responsible for this chaos has suspended cultural funding, tears down the Brazilian film agency Ancine and has recently tried to destroy our film archive, closing the Brazilian cinema library.
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