Home > Animation, Polish Animation > Island of Gibbons by Malgorzata Bosek (2010)

Island of Gibbons by Malgorzata Bosek (2010)

I must admit Malgorzata Bosek is one of my favourites. In her films animation, painting, rhythm, abstraction and figurative art meet halfway just to be spiced up with a bit (or much more than a bit) of feminism.

She was born in 1968 in Warsaw, Poland where she graduated from Arts College, painting at Academy of Fine Arts and in 1995 an animation course at Studio Miniatur Filmowych. Since then she has been working as a freelance animator and successfully combining it with creating art. She has had several exhibitions – both: individual and collective in Poland and abroad. Both paths met in her animated debut Dokumanimo (2007) which is a story of a housewife, a kind of contemporary Sisyphus of humankind, who tries to save herself from a stupefying effect of performing household chores. She escapes into the world of artistic creativity and starts producing jigsaw puzzles from trash. The film has won a number of awards and special mentions at festivals across Poland.

An extract from Dokumanimo is available here.

Last year Bosek finished her second animation, namely Wyspa Gibonow (Island of Gibbons, 2010). Since the whole film is not available online, you can, again, watch an extract (here) that can whet your appetite for seeing the whole bit.

Story: A couple visits a Zoo and reflects on their life. What comes out of it is two completely different points of view on the same thing and constant underestimating the other person’s efforts; but also understanding that opposites need balance and life in a relationship cannot be taken for granted.

There was an interesting piece of an article published in Kino monthly magazine in April last year written by Hanna Margolis. The author makes a few important points that help differentiate Island of Gibbons from other current animated films in Poland. What makes the film look fresh and new is, above all, the fact that Bosek consciously discusses postmodernist issues while using a combination of well known plastic (bold pastel) and animation techniques. This approach is, according to Hanna Margolis, in opposition to other animators’ who often look for inspiration in good old animated films as opposed to creating a dialogue within culture as a whole.

The article is also available here (though only in Polish).


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