Memories can be as fickle as they can be honest. They can shift and alter themselves as we begin to fixate on certain emotional responses garnered from specific impactful encounters. This malleable nature is at the heart of Oscar nominated animated short Letter to a Pig from DN alum director Tal Kantor. The story of a young schoolgirl who finds herself transported into an internal world when a Holocaust survivor visiting her school tells the story of his trauma. Kantor visualises this psychological journey with a distinct brushstroked style and monochrome palette that shifts and folds, evoking the same fading and malleable form that memories can take. During the run up to this year’s Academy Awards DN joined Kantor once again for a conversation about the making of Letter to a Pig, the thought processes that went into its haunting visual aesthetic, and the reasons she believes it’s been put forward for the highest of film-based accolades.
Where and how did the idea for Letter to a Pig come to you?
Letter to a Pig is based on my personal experience as a young schoolgirl: an encounter with a Holocaust survivor who shared his story in my class during Memorial Day, and an unforgettable dream I had afterward. Both the survival story and the dream left such a powerful mark that they evolved a decade later into a growing urge to create this film. This experience evoked deep questions about my identity and the complex baggage of the past that I, and young generations, subconsciously carry.
I saw my personal local experience as an opportunity to examine a more universal and human issue that interested me, the ways trauma can echo from one generation to the next, and the social and personal implications this transmission has on future generations. How do these stories shape our moral outlook on ourselves, others, and the world?
The way you explore that passing of generational trauma is fascinating, how these dark tragedies can echo throughout the lives of those who didn’t experience those formative moments. What attracted you to this theme?
Thank you for acknowledging the theme. I was drawn to exploring the passing of generational trauma from a unique perspective, and create a narrative journey that seamlessly transitions between memory, reality, and the subconscious, delving into the fractured collective memory of the younger generation, where our deepest fears are suppressed.
I aimed to turn the camera 180 degrees, directing attention not solely towards those recounting the past, but rather on the children silently absorbing these heavy narratives in the classroom, as they represent the future. I wanted to resonate my thoughts on the screen and ask, among other things: Can we learn and talk about past traumas without transmitting them to future generations? Above all, in the end, it was important for me that the film will offer a different angle on how we treat our collective wounds, with the possibility for healing and hope for more compassion.
What animation techniques did you employ in order to blend the live action footage with animation?
This film was created using a mixed media technique that I developed, building upon the approach featured in my previous film, In Other Words. The technique involves a fusion of 2D traditional hand-drawn and paint animation on paper, blended with video segments.
The process encompasses directing and filming actors and manual frame-by-frame animation on the computer and with acrylic paint on paper. It’s a long production process involving numerous steps and layers until it organically fuses all the visual elements together to reach this final result.
The brushed texture of the animation is so stunning, why did you feel this was the right technique for this story of empathy and imagination?
Thank you! The choice of a brushed texture for the animation aligns with the film’s exploration of memory and the subconscious on an emotional level. This technique allows a visual representation of how human memory operates, illustrating what and how we remember. It showcases our tendency to focus on certain vivid details while other aspects become elusive or undergo alterations. Consequently, both the world and characters within the film are deliberately presented as fragmented and incomplete. This visual approach provides insight into their inner worlds and subjective perspectives. Whether it’s a dark color stain portraying pain and rage, subtle animated lines expressing shame or a desire to vanish, or the realistic eyes leaving a lasting impression, each element contributes to the character’s emotional narrative.
It showcases our tendency to focus on certain vivid details while other aspects become elusive or undergo alterations.
By employing real materials and colors meeting paper, embracing the mistakes and traces of the human hand in manual work, the animation becomes a powerful vehicle for emotional expression. This connection with tangible, handcrafted elements was a crucial aspect for me in creating an emotionally resonant experience within the film.
What drew you to colour Letter to a Pig in a monochrome palette? To me, it added a haunted, ghostly texture to the film.
Thank you for the insightful question. The decision to present the film in monochrome was deliberate, reflecting the weighty themes it explores, a burden passed through generations. By choosing black and white, we emphasize the tonal weight, the textured wounded visual language, and the vibrancy of color stains. This minimalist approach allows us to focus on the essence, creating an atmosphere that delves into the complexities of the past and memory.
By employing real materials and colors meeting paper, embracing the mistakes and traces of the human hand in manual work, the animation becomes a powerful vehicle for emotional expression.
The film engages with profound questions of good and bad, exploring the nuanced shades between black and white within the human soul. I aimed to capture the gray and intricate aspects of humanity, highlighting the space between extremes of human nature. The strategic use of color, seen in the pig character and key moments on the faces of our protagonists, symbolizes the emotional spectrum within us. It represents the blood that courses through our veins, manifesting in moments of affection, rage, and hatred. This layer serves as a reflection on the intricate tapestry of human emotions.
Could you take us through a production timeline of making Letter to a Pig? How long did it take to realise?
The journey of creating Letter to a Pig spanned nearly five years, but its origins trace back over 17 years when I drew my profound dream after the encounter with the Holocaust survivor. A decade later, the idea persisted, compelling me to bring it to life. Submitting it to Annecy Festival Mifa Market pitches proved fortuitous, as it was selected and received a production grant at Ciclic Animation residency in France. This marked the transformation of my dream into a co-production reality between France and Israel, Miyu Productions and The Hive Studio, encompassing development, production, and post-production over the period from 2017 to 2021.
The complexity of the techniques employed extended the production timeline, involving the collaboration of nearly 40 skilled artists and professionals. Initially, almost a year was dedicated to developing the script, storyboard, and concept art. Subsequently, the production phase spanned three and a half years, resembling the creation of two films within one, the live-action part with actors Moriyah Meerson as Alma the schoolgirl and Alex Peleg as Haim the survivor edited by the sharp Editor Efrat Berger. The animation production took place in Ciclic residency in France, where I worked with a team of three international animators Meton Joffily, from Brazil, Anne Kraehn, from France, and Teresa Baroet, from Portugal.
Post-production, including the unification of all audio-visual elements together, spanned an additional year during the challenges of the COVID-19 pandemic. At this stage Artist Dafi Ben Ami created the remarkable backgrounds, Erez Eyni Shavit cleverly sculpted the challenging sound design, and compositing VFX was done by Shahar Davis. Finally the film premiered in mid-2022, luckily after the peak of the pandemic, and its journey in the world has been incredibly rewarding, with a great festival run we are immensely grateful for.
How was it collaborating with Pierre Oberkampf on his sombre score? What were you looking for him to evoke sonically?
Collaborating with Pierre Oberkampf on his somber score was an absolute delight. Pierre is an incredibly talented, sensitive, and intelligent composer, making the entire process a huge pleasure. Our collaboration involved a thorough analysis of the film’s trajectory, delving into the emotional arc and energetic essence of each section. We considered how specific musical sections would resonate later in the film with different variations. Additionally, we explored which musical instruments could aptly express the characters and the narrative’s progression. For instance, we chose the flute to accompany the dreamy and gentle girl protagonist, Alma. The texture of the piano, selected for the scenes involving the pig in the classroom, perfectly complemented the brushstrokes and flickering paint, as envisioned by both Pierre and myself.
I firmly believe in art as a powerful tool for eliciting emotions, sparking thoughts, and fostering dialogue with viewers.
Our goal was to discover music and instrument combinations that could encapsulate the duality and complexity inherent in the characters within the film. The thick dark corners in our souls alongside the light and soft ones. Pierre skillfully translated my abstract descriptions into layers of complex emotion, even during our collaboration over Zoom amid the challenges of the COVID-19 pandemic. His ability to grasp and embody the essence of my vision was truly remarkable.
What are you working on now?
Alongside collaborations on a few feature documentary animated films, I’m currently developing my next project, I can’t say much at the moment, except that, unlike the other films I made that dealt with the subject of memory and the past, this one will try to deal with questions about the future 🙂 I feel like it’s a good time to face it right now.
How important have the likes of Directors Notes and other festivals/online platforms been in helping you promote your work over the course of your career to the point of becoming an Oscar-nominated filmmaker?
Great platforms like Directors Notes, a welcoming home for independent cinema, have played a crucial role in my career, featuring my previous films such as In Other Words and Under the Little Sun, co-directed by Shahar Davis. As a devoted reader, I am genuinely grateful for the opportunity to share and discuss the work behind Letter to a Pig.
I firmly believe in art as a powerful tool for eliciting emotions, sparking thoughts, and fostering dialogue with viewers. Therefore, the exposure of a film on various platforms, spanning the web, TV, live festival screenings, and even through word of mouth, is immensely significant for the life of an independent short film. This exposure also plays a vital role in paving the way for future projects.
The distribution of the film becomes a pivotal link in establishing a connection with the audience, enabling them not only to experience the film but also to delve into the underlying thoughts and actions behind it. My heartfelt thanks goes also to Miyu Distribution and The Animation Showcase for their invaluable role in globally distributing Letter to a Pig, contributing to its remarkable journey and ultimately leading to this great honor of an Oscar nomination.
