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A pow­er­ful short film. And a sort of wink in Zehra Doğan’s direc­tion…

Twelve min­utes of ani­mat­ed images, like the artist’s hand tak­ing revenge on destiny.

We often for­get the “movie maker’s hand” when we watch a film. Of neces­si­ty, we think about it a lot more with an ani­ma­tion film. And with Syl­vaine Jenny’s Migra­tion, you will have no choice in the matter.

A moth­er and her daugh­ter flee before the bombs, run, fall down, pick them­selves up and walk, cross by boat, get washed up on shore… With thou­sands of oth­ers, they take the migra­tion road of migrants, encoun­ter­ing every hor­ror along the way. It hap­pens in Syr­ia, or per­haps some­where else, in Irak, in Lebanon. It may be hap­pen­ing right now. It could be a cen­tu­ry ago.

There is a desert, then moun­tains, then an encamp­ment. Not a singe word.

The fre­net­ic draw­ing takes your breath away. The sus­pense pro­duced by the music and the chop­py rhythm of the strokes from the crayons keep the spec­ta­tor enthralled. And leave unan­swered the uncom­fort­able ques­tion about this mov­ing hand, respon­si­ble all at once of the blood and of the smiles, of the boat sink­ing and of the beach.

Every­one is free to see in it the artist’s hand, or that of the despot or that of destiny…

A true “ani­mat­ed draw­ing” far removed from fairy tales, that calls out to us, denounces and questions.

As with Luc Perez’ Miniyam­ba : pas­tel strokes, dark­er and dark­er as the two char­ac­ters draw clos­er to the shores of Europe… where lights glow in the dis­tance. Oth­er ani­ma­tion doc­u­men­taries on exile and migra­tion : Then I came by boat, mem­o­ries of a Viet­namese exile, and Al Hur­riya, a meet­ing between a woman from Calais and her neighbors.

migration

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