'tête-à-tête' @ Animation Marathon, Greece

 

'tête-à-tête', World Premiere at the TOFUZI International Animated Film Festival

'tête-à-tête' had the world premiere at the TOFUZI International Animated Film Festival in Adjara, in the country of Georgia, Nov. 11-16!

'tête-à-tête' International Film Festival Official Selections

Official Selections:

2024

Nov. 11-16     The 16th TOFUZI International Animated Film Festival, Adjara, Georgia (World Premiere)

Nov. 22-24     The 9th Animation Marathon, Athens, Greece

2025

Feb 14-22     The 6th VASTLAB Experimental, Los Angeles, US (US Premiere)

Feb 27-29     The 46th Big Muddy Film Festival, Carbondale, Illinois, US

Mar. 27-30    The 20th Athens Animfest, Athens, Greece

Jun. 3-8        The 5th Tokyo International Short Film Festival, Tokyo, Japan

'tête-à-tête' images

New experimental film, 'tête-à-tête'

 

tête-à-tête is a lyrical exploration of human connection, where the language of movement and abstract visuals replace words, inviting viewers into a dance of emotions that unfolds across a 360-degree canvas.

 

Cast & Crew
Director/Writer/Editor/Producer: Soyeon Kim
 
Designers/Performers: Antonia Alvarado, Isabella Andrus, Eri Biter, Ethan Dwinell, Valencia Grace, Bethany Guerrero, Habiba Hassaan, Yoontaek Hong, Isabel Ladesma, Bryan Loya, Sungbin Moon, Diana Veveros
 
Animators: Hui Tan, Soyeon Kim
Composer: Walter Santucci
Choreographer: Ursula Echeverria
Produced by CSULB & Yellowshed

Director's Statement:

In creating this film, I wanted to explore 'Conversation' in a non-traditional and experimental way, challenging our conventional methods of communication. Rather than relying on spoken or written words, I chose to express the depth of emotions through movement—both of the body and abstract visual elements on the screen. This approach invites the audience to engage with the subtleties of human interaction that we often overlook when we focus too much on verbal language or facial expressions.
I believe that words can sometimes confine the true essence of what we wish to express. By removing them from the equation, viewers are encouraged to seek deeper meanings in the physical movements and the dynamic visuals, interpreting the emotional landscape in their own way.
The film is designed for a 360-degree theatre setting, with a canvas of 1000 pixels in height and 8000 in width. I utilized the screen space in various configurations—sometimes filling the entire space, at other times rotating or fragmenting the visuals. This creates a sense of unpredictability and immersion, as the audience never knows where the next 'conversation' will take place within the space. This setup allows for a unique experience where viewers can feel as though they are in direct conversation with the filmmaker or quietly observing an intimate dialogue happening nearby.