A perfect amalgam of content and form
Quite a big period of time passed since the appearance of Winsor McCay’s The Sinking of Lusithania (1918), the film that animation historians consider the first significant animated documentary untill the time when specimens of this extraordinary film genre have started their daring and provocative occupation of film festival slots. And this is true not only of animation shorts, but also of big festivals of full feature films – to mention the example of Ari Folman’s Waltz im Bashir (2008) featuring in the official competition programme at Cannes and its subsequent American Film Academy nomination for the best film outside English-speaking countries. The beginnings were marked by theoretical controversies based on key question of how an animated film can be a documentary film in the first place. Today, after countless films providing a perfect example of the organic nature of this connection, this question has become quite superfluous. The means of expression contained in animation become inherent to the documentary form, resulting in convincing artistic output, which is perfectly illustrated by the films featured in the AnimanimaDOCS review.