Judith is a film director who visualizes universal themes in her poetic storytelling. She lays a bridge between a realistic present and a dynamic new world, by using strong choreographic elements and motion as metaphors for growth and change in life.
“Essentially I’m a nostalgic person; I want to create something that lasts forever.”
Reinjan Prakke (1986) is a director who’s always searching for a kind of hyper reality within his films. Brought up by a journalist and a psychologist, his un-relentless question barrage is an honest urge to understand the essence. His work is best described as a cross-over between documentary and fiction. As a self-taught filmmaker who started out over ten years ago, he explored every aspect of filmmaking. Until this day he cuts his own films and is deeply involved in all aspects of the filmmaking process.
Motion Design Director
As a kid the goofy absurd worlds in commercials fascinated me. After a movie or tv-show, when I had to go to bed, I used to ask my parents: ‘Can I finish the commercials?’. Today I like to make what I enjoyed then: animated and post-heavy commercials.
Boys are three times more likely to get a medication subscription for ADHD, get advised to go to lower-education schools more often than girls with the same test-scores. Boys and girls are equal, but not the same. The boys need their space to develop too, instead of being told ‘no’ a lot of times. That’s the bottom-line of this new campaign by Sire. We created this commercial as part of their campaign.
The film had to start a social discussion, and it did. For three days it dominated the news.
Winner of an Esprix Award 2018
2x Winner of a SAN ACCENT Award 2018
We made a film that shows boys and their growth: trial and error. Hard, raw, but also touching, so that the film offers recognition to all boys, young and old. In the film we see a variety of boys, dudes from Amsterdam New-West as well as rural boys to name a few. At the core they are the same: they want to explore, experiment. We placed them in situations where it is common for a parent or teacher to intervene. We combined these images with matching raw animations.
Even though the compositing was done digitally, all the animations were created with analogue techniques. We experimented a lot with different materials to create patterns, wipes and transitions. We used ink, pencil and paint on paper for the elements, as well as bubble wrap plastic, dices and tape to create background patterns. The text effects were done by moving paper over a scanner whilst scanning.
It was a a lot of fun being dogmatic about the animation style.
The analogue techniques had to be simple, as if the boys in the commercial made the animations themselves.