In the Korean entry Love Games a love story is told through very reduced means. Wherein lies the strength of this reductiveness?
Joung Yumi manages in her animations to go deep into the details with very fine sketches, because she never reduces situations to clichés. The same goes for this film, in which a couple attempts together to eat a cookie hanging from a string. Combined with two further images, everyone understands that the couple is in love. Yet Joung Yumi doesn't stop at this point, but examines the situation very closely, exposes the characters. It's seldom that I see this in animations.
Talking about the film Geliebt (Be Loved, Berlinale Shorts 2010, programme archive) you said that it impressed you with the calmness, concentration and clear visual compositions with which it addressed a potentially sensationalistic topic, the (also sexual) relationships of people to dogs. Traumfrau by Oliver Schwartz is about a man who has a romantic relationship with a rubber doll. The protagonist's face remains hidden. Doesn't that encourage a voyeuristic gaze?
I understand it to be exactly the opposite, a protective measure. With unbelievable timing, the film answers every question that one would ask, exactly in the moment that it arises. The protagonist himself is very clear about what he is doing. He is very reflective. Actually he wants to return to the lap of the family. In Geliebt, Jan Soldat shows his protagonists very frank from the beginning, notabene there are two characters. In the case of Traumfrau , we don't even know if it's his real flat. Situations are set up in stereotypical locations like the bed, dining table, sofa. Due to the fact that Oliver Schwarz protects his subject, he gives the viewer the opportunity to get closer to his character.