Affairs of the Art

There are worlds that mix with each other and are forced to coexist even though they seem strange to each other. In Affairs of the Art, family, death and art are balanced and they also coexist, sometimes too much, with each other. The characters, therefore, are most imaginative, realistic and strange; each with their own individual passion, each with their own contrasting qualities.

Animation plays a fundamental role in the construction of such a twisted and realistic artistic-family world, and it uses each of the advantages of traditional animation by hand to stay chaotic, not to fall into the static, the dead. Its best quality could also be its worst mistake: its intricate narrative, without connection or adherence, which serves mainly to complement the highly imaginative style of animation... to show us the observation, innovation, resolution, experience and preservation that comes from the soul of the artist, the soul of the Beryl family and probably of every person who indulges in art.

Of course, it also has its disadvantages, and those come from its great ability to offend its audience, to appear too cruel, too exaggerated and disrespectful, to generate conflict and disapproval. Probably if you are very sensitive you should not see it and hope that it fascinates you.

Director Joanna Quinn's lovable protagonist Beryl returns, telling her own story of her childhood, her family, and herself as an artist and a mother.

The storytelling in Affairs of the Art is fluid and compelling, the characters strikingly honest, and Joanna's distinctive style absolutely captivating. In this film about art, each hand drawn frame of the animation is a work of art in itself.

Affairs of the Art absolutely deserves all the awards buzz it's received, with wins across the festival circuit as well as BAFTA and Oscar nominations.

I really did like the detailed quality of the active animation in this latest outing for "Beryl". She likes to draw, indeed she's obsessed with it - and alongside the eccentric behaviour of her husband "Ifor" and their son "Colin" we share in the joy of their collections of perfectly arranged screws, or her stuffed animals, indeed even a fanatical collection of jarred pickles. Nothing is undrawn. Meantime, her sister "Beverly" who has made a fortune extolling the virtues of all things nip and tuck is living the life of luxury in Los Angeles, and at times she is very reminiscent of one or two famous Hollywood stars whom it'd probably be libellous to name! It's a bit on the vulgar side towards the end, and though that might read a bit puritanical, I found it just dragged what was really quite creative and entertaining into the realms of something just a bit crass. Still, it's moves with one heck of a pace, there's a bit of quite pithy dialogue and for the most part it's decent, if a bit long of a watch.

Greetings again from the darkness. Is it acceptable to call Joanna Quinn and writer Les Mills 'frequent collaborators' when they have only made 4 short films together over a 34-year period? Regardless, this is their first since the BAFTA nominated DREAMS AND DESIRES: FAMILY TAKES (2006), and it features the return of the character Beryl (voiced again by Menna Trussler). This time their work has been rewarded with an Oscar nomination for Animated Short Film.

Beryl is an older lady admittedly obsessed with art. She's been that way since childhood and we see that she drew 'all the time', including the walls of her bedroom. During this 16-minute short film, Beryl reminisces about her family and the role art has played in her life. She explains how each family member had their own obsession, and mind you, Beryl is presenting all of this through the eye of an artist. The visuals and (hand-drawn) animation are truly spectacular and fit so well with Beryl's frenetic storytelling.

We each have our own zany family stories, and Ms. Quinn uses Beryl to discuss obsessive behavior. Topics include plastic surgery, taxidermy, and death ... each captured with artistic flair. There is a great line about being 'Trigger-happy', and this may be also be about "hyper-futurism" or vodka, take your pick.

Let's start with the animation; imagine if you took the animation of the Aha song Take on me, passed it to artist Gerald Scarfe to colour, then let Raymond Briggs round the contours of the drawings out before passing it to the animation team behind Akira for camera angles before they pass it back to Briggs, then letting it marinate in the cruelty of early 70s: the animation is spell binding and draws you in, and that's the really clever part of the hook, because when the film moves on to the cruelty of children and how vengeful they can be, you can't look away.

The story is a life snapshot of. Beryl, a child of the sixties recounting her family life events, and how she arrived at nearly 60 realising that her opportunity in art may have slipped by.

That's all I'm going to give you! Just bloody watch it!