Pajek explains within the notes to her movie why she selected to create the movies out of order:
Every of the tales explores a special area. After the area between two individuals (Half III) and the area inside a home (Half II), Half I takes the viewers right into a metropolis. I made a decision that, opposite to its title, this movie ought to be the final of the three to be made. I felt that I wanted extra time and expertise to sort out a topic that goes thus far past my very own expertise and information — specifically, the failure of utopias, the autumn of our civilization, the tip of humanity. It nearly appeared boastful to tackle the topic in any respect. However the imaginative and prescient of the fallen metropolis intrigued me. In any case, I’m one in all its residents.
Pajek’s sixteen-minute manufacturing begins with an enormous explosion and follows a mysterious and stylish aged girl who wanders the abandoned metropolis streets, recalling what was and what might have been. Although the movie was developed lengthy earlier than the pandemic, its manufacturing in the course of the Covid-era gave new that means to its story. Pajek speaks about how the pandemic and different environmental components knowledgeable her filmmaking:
Through the course of, I had the chance to spend time in cities which have been strongly marked by historical past — Warsaw, Vienna, Moscow. All of these locations, with their grandiose structure, museums stacked with artifacts, and painful pasts, impressed me and located their manner into the movie, whose protagonist is town itself.
The primary draft of the story was written along with the opposite two components, nevertheless it advanced and ripened with time, throughout which I noticed that finally, similar to the opposite two, this could be a movie about what I don’t perceive, slightly than what I do know. Somewhat than exposing defective mechanisms, I aimed to get in contact with the concern of the inevitable finish, and the frustration of 1’s helplessness within the face of it.
Steadily, as I used to be creating the story, the fact round me appeared to regulate to that pre-apocalyptic temper. A part of the manufacturing was going down in Montreal, within the outdated Nationwide Movie Board headquarters, which was being slowly emptied and dismantled earlier than the transfer to the brand new constructing. After I arrived, the big NFB brand (generally known as “man seeing”) had already been faraway from the highest of the constructing. It felt like the tip of an period in filmmaking historical past — an period of geniuses like Norman McLaren, of room-size projectors, sensible innovations, distinctive devices just like the pinscreen, of vaults and infinite maze-like corridors. A reign of supplies, objects and machines, but in addition of individuals and tales.
When the pandemic started, manufacturing was in full swing — we headed into isolation and switched to on-line conferences. Deserted metropolis streets turned our on a regular basis actuality, and the confinement in a single’s own residence made it appear to be the apocalypse was already creeping in on us. I had an uneasy feeling that the story we have been telling wasn’t some far-fetched fantasy, however slightly the world we abruptly awakened in.
We completed the movie in a special actuality than the one we inhabited when the story was first written. It’s with a lot anxiousness that I’m sending this final a part of the triptych into the world, however I hope it can resonate with audiences and that they discover in it a observe of comfort or energy that comes from connecting with one’s fears.
Not possible Figures and Different Tales I is a hybrid of hand-drawn animation (on paper!) and cg. The quick is a co-production between Warsaw, Poland’s Animoon and the Nationwide Movie Board of Canada. Piotr Szczepanowicz and Grzegorz Wacławek have been producers for Animooon, and Maral Mohammadian did the identical for the NFB. The manager producer was Michael Fukushima, who just lately retired from the NFB.
Watch Cartoon Brew’s interview with Pajek in regards to the first two movies within the Not possible Figures trilogy: