{"id":26621,"date":"2025-11-10T19:09:27","date_gmt":"2025-11-10T18:09:27","guid":{"rendered":"https:\/\/www.animateka.si\/2025\/potovanje-regratove-lucke\/"},"modified":"2025-11-16T14:39:06","modified_gmt":"2025-11-16T13:39:06","slug":"dandelions-odyssey","status":"publish","type":"page","link":"https:\/\/www.animateka.si\/2025\/en\/dandelions-odyssey\/","title":{"rendered":"Potovanje regratove lu\u010dke \/ Plan\u00e8tes \/ Dandelion’s Odyssey"},"content":{"rendered":"

[vc_row css=”.vc_custom_1604469580079{margin-right: 5px !important;margin-left: 5px !important;}”][vc_column][vc_empty_space height=”40px”][vc_custom_heading source=”post_title” font_container=”tag:h2|text_align:center” use_theme_fonts=”yes” link=”|||”][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=”26617″ img_size=”full” alignment=”center”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][\/vc_column][vc_column width=”1\/4″][vc_btn title=”Kinodvor, 3\/12 at 19:00″ style=”classic” shape=”square” color=”black” size=”sm” align=”center” link=”|||”][\/vc_column][vc_column width=”1\/4″][vc_btn title=”Slovenska kinoteka, 4\/12 at 21:00″ style=”classic” shape=”square” color=”black” size=”sm” align=”center” link=”|||”][\/vc_column][vc_column width=”1\/4″][vc_btn title=”Followed by a Q&A with the director.” style=”classic” shape=”square” color=”black” size=”sm” align=”center” link=”|||”][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/4″][vc_column_text]France, Belgium, 2025, 76′
\nNo dialogue[\/vc_column_text][\/vc_column][vc_column width=”1\/4″][\/vc_column][vc_column width=”1\/4″][\/vc_column][vc_column width=”1\/4″][\/vc_column][\/vc_row][vc_row][vc_column][vc_separator][vc_column_text]Directed by: <\/strong>Momoko Seto
\nWritten by: <\/strong>Momoko Seto, Alain Layrac, Mariette D\u00e9sert
\nMusic Composers:<\/strong> Quentin Sirjacq, Nicolas Becker
\nEditing:<\/strong> Michel Klochendler
\nSound Design:<\/strong> Nicolas Becker
\nProduction Design: <\/strong>Momoko Seto, Nils Dupr\u00e9
\nAnimation Supervisor<\/strong>: <\/strong>Guionne Leroy
\nProducers:<\/strong> Emmanuel-Alain Raynal, Pierre Baussaron, Emmanuel Chaumet
\nProduction:<\/strong> Miyu Productions, Ecce Films, Umedia
\nDistribution in Slovenia:<\/strong> Cenex \/ Fivia[\/vc_column_text][vc_separator][vc_column_text]Somewhere between computer animation, macro photography, and time-lapse footage, a gentle narrative unfolds about a world after the end of the world. Four dandelion seeds, catapulted from planet Earth after a nuclear apocalypse, search for a new home in the stratosphere. When the migrant seeds are sucked into a black hole, they find themselves on a planet both ominous and unusually beautiful. The seeds travel on slugs, flee from voracious floating tadpoles, and search for land where they can take root.[\/vc_column_text][vc_separator][vc_column_text]Director’s Statement<\/em><\/p>\n

To create each image in Planets, I use a variety of techniques ranging from time-lapse and hyper slow motion, to ultra-macro, stackshot, and robotics. Time-lapse is, precisely, the art of compressing time. It involves filming a very slow natural phenomenon, often imperceptible to the naked eye, over a given period. Speeding up the footage, we can \u201cfinally\u201d see the invisible. Hyper slow motion, on the other hand, is the art of unfolding time. Like time lapse, the (phantom) camera captures very rapid movements and breaks them down. The subject filmed thus becomes \u201csomething else\u201d. Here, technique is not just a tool to enhance what we see, it reveals what lies on the other side of the visible world.<\/p>\n

[On making dandelion achenes endearing]<\/em><\/p>\n

Emotion is truly the key. It was essential that the 4 achenes convey their emotions in every situation. To achieve this, the first stage was meticulous screenwriting to allow them to express fear, joy, and sadness. The second phase was the animation work, with the Belgian team, orchestrated by the head animator Guionne Leroy. We worked on every minute detail that will help convey these emotions: hair-like dandelion clocks wilting, variations in leaps, the more or less lively movements of the body, etc.<\/p>\n

I hope the audience leaves Dandelion’s Odyssey<\/em> with more than just the knowledge of what an achene is. That they understand that nature is not a backdrop to be trampled on, not something separate from the self. That all the little things surrounding us are the true actors in an action film. That a growing plant can be so beautiful it might make you cry. We are all a force of nature, bound to one another \u2013 together, we make up our planet.[\/vc_column_text][vc_separator][vc_column_text]info<\/em><\/p>\n

Seto\u2019s team employed an intricate blend of time-lapse and ultra\u2013slow motion macro footage shot across Japan, France, and Iceland, StackShot imaging, and robotic motion rigs with 17 cameras running simultaneously to capture miniature plant sets in studios. The result is a visually transcendent hybrid of live-action and computer-generated compositing that expands the boundaries of genre and animated storytelling.[\/vc_column_text][vc_separator][vc_column_text]Awards and festivals (selection):<\/em><\/p>\n

– Prix Paul Grimault, Annecy IAFF, 2025
\n– FIPRESCI Prize, Cannes FF 2025
\n– Golden Camera nomination, Cannes FF 2025
\n– Best Animated Feature Nominee, Festival Europ\u00e9en du Film Fantastique de Strasbourg 2025
\n– Best Film Nominee, Pingyao IFF 2025
\n– official selection, Toronto IFF 2025
\n– official selection, Festival de Noveau Cin\u00e9ma Montreal 2025[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"

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