Director Biography - Christopher Angus
Chris began dabbling with animation in 1993 as part of the commercial arts course that he was taking at that time. Becoming fascinated with the animator’s craft, he began attending workshops held by the Manitoba Society of Independent Animators (MSIA). Chris received funding from MSIA in the form of space and equipment usage and set up shop in MSIA’s studios working on his first film the Urge when time permitted. the Urge was completed in the spring of 2001. After several years of production, Chris completed the Urge 2 - It Lies Within. During this time, Chris taught an animation course at the Winnipeg Art Gallery - Studio Programs, worked on several small animated commercials, and began working on a screenplay for a feature film. the Urge 2 - It Lies Within has won over 15 awards at international film festivals to date, including best film, best filmmaker, and best animator. Then Chris completed his next film, Futureworld. It has won over 13 awards in “Best of” categories, as well as various other awards. Chris’ most recent film, Hinter-Land premiered at the Ottawa Animation Festival (Canadian Panorama) and has has gone on to win over 50 awards - in best of categories 0 at International film festivals, including receiving an award for best animated film from the Global Shorts Film Festival, which was held at a gala in the Carlton Hotel in conjunction with the separate Cannes Film Festival. While working on music and sound for Hinter-Land Chris began animating the vignette - Healing for the Nations. It premiered at the Animation Day in Cannes, held in the Marche Du Film as part of the Cannes Film Festival, where it was awarded with an XP-Pen. Currently Chris is in the animation stages of his next film.
By Donia Mirkatuli
When making animations, there are three crucial points: the starting point, the midpoint, and the endpoint. Beyond the importance of adhering to the story's structure and action, the element that increases the appeal of animations and fosters a connection with the audience is the characters. Additionally, There is always a need for an environment that provides a backdrop for the story and its events. Given these considerations, making a short animation is undoubtedly challenging; first, the animator must design characters that can quickly resonate with the audience. Second, the director must know how to convey crises/incidents in the shortest time possible, before moving on to their resolution quickly.
A music-enthusiast gardener throws his assistant out of the house at night due to the discordant sound of his instrument, and this incident leads to a terrifying spiral of chaos and destruction on their small planet. This two-sentence plot summary is ideal for creating a captivating animation. Christopher Angus, the writer and director of Hinter-Land, knows how to expand this idea and transform it into an impactful short film using engaging characters and well-designed settings. The starting point is when the gardener expels his assistant from the house. The midpoint features the obstacles and problems that this antagonist creates on the gardener's planet. Finally, the endpoint involves the gardener resolving these issues and restoring order to the chaotic situation.
This animation vividly illustrates a cycle of natural life through clear language, reminding viewers of having respect for nature, for our planet. The depiction of a life cycle that we witness from the very first sequence serves as a method for describing and showcasing nature. The relationship between humanity and nature has never been as threatening and concerning as it is today. However, this animation tells its story about this vital relationship without resorting to words, using simple and heartfelt expression.
The antagonist, the gardener's assistant, spares no effort in threatening the environment and destroying nature. He callously cuts down numerous trees, disrupting the natural cycle of life by eliminating forests and leaving a dark stain on the ground with his footprints, which spreads pollution to other living beings and biological species. In contrast, the protagonist—the gardener—dedicates all his efforts to nurturing plants. Aware of music's impact on flora, he plays his instrument in hopes of positively influencing the growth of flowers, ensuring their freshness, vitality, and liveliness.
Among all these flowers, the animator has chosen the sunflower; a flower so beloved in art history that Vincent van Gogh dedicated twelve paintings to it under the title "Sunflowers." This resilient plant not only presents a strikingly attractive and dramatic image with its large yellow petals but also needs a warm climate with full sunlight and a sheltered location from wind for its growth. If these conditions are met, sunflowers can thrive in most parts of the world. In the film, we witness a struggle between the poles of good and evil in the preservation and destruction of nature and sunflowers. The pole of evil leads nature toward death and extinction by cutting down trees, whipping animals, and drying up flowers, while the pole of good keeps nature alive and flourishing through planting seeds and providing sufficient and timely water and sunlight. These two poles are in constant conflict until, ultimately, good triumphs over evil. It is also possible that these opposing poles exist within a single individual, and the battle between them can lead to human perfection, provided that good prevails over evil. The music for this animation, composed by Canadian composer and pianist Paul Shrofel, further enhances the atmosphere. The scenes of the gardener playing his instrument, the dancing sunflowers, and the changing seasons are some of the most beautiful parts of the animation.
At the end of the animation, there is a quote from Alister E. McGrath—a priest, theologian, and Irish historian. Interestingly, McGrath was previously an atheist. However, he is now a professor of theology, religion, and culture at King's College London and the University of Oxford in England. McGrath's main interests lie in Christian theology and natural sciences. He believes that nature is not merely receptive to a number of contradictory and incompatible interpretations; rather, it is a complex concept with interconnected levels, each of which plays a role in shaping how nature is interpreted. Nature is an astonishing diversity of living elements, and any interference with or struggle against it disrupts the workings of the natural system.
Christopher Angus, the Canadian animator and filmmaker, entered the field of animation in 1993 and began collaborating with the Manitoba Independent Animator’s Association. This association provided Angus with studio space where he set up his workshop. When conditions became favorable, Angus started working on his first animation titled "The Urge," which he completed in 1999. He has since created acclaimed works such as "The Urge 2: It Lies Within" (2015) and "Futureworld" (2018). Both of these animations were finalists for the Animaze Daze Award at the Cannes Film Festival. In addition to creating short animations, Angus has worked on other creative projects, including advertisements and a documentary film. With Hinter-Land, he has taken a big step toward raising public awareness about environmental conservation, and perhaps this animation serves as a small reminder to humanity—the most significant factor in the destruction of nature in recent centuries.
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