Clay motion at its most white: the exquisite story of a girl lost by the Estonian animation director Anu-Laura Tuttelberg.
What if Little Red Riding Hood was actually white? The story description of Anu Laura Tutelberg's film On the Other Side of the Woods has a a clay doll awaking from her surroundings.
Self-described as a fairytale full of light, magic and nostalgia, the doll becomes gradually involved in a surreal world which is in a constant flow of change.
There is an exquisite sense of benign benevolence in this film, which even though reworks the classic fairy tale of Perrault, it chooses to make it more open-ended. The white clay puppet is magnificently expressless, never fearful of its surroundings, and at ease with the array of woods, leaves and branches (the famous forests of Estonia here).
The wooden characters (wolf, dog, lumberjack) seem ready to reprise their roles, but in a setting that is too peaceful and never menacing (even though deaths occur). It as if all characters are actors rehearsing their roles in order to move on.
The main achievement of On the Other Side of the Woods is to make natural light an integral part which guides the story. Cinematography works like a visual engine that handles time, the transition from reality to fantasy and the passage from childhood to adulthood -in just one shot and a few cardboards full of soil.
Here are some set photos, which come from the workplace of Estonian painter Ants Laikmaa in Tallinn.
Director, settings and cinematography: Anu-Laura Tuttelberg
Animator: Olga Bulgakova
Composer Sander Põldsaar
Sound Designer: Horret Kuus
Produced by: Anu-Laura Tuttelberg and Nukufilm studio