Illustrator and animator Bastien Dubois presents us with a bright welcoming experience with his Madagascar. All of the animations, done by hand, reflect the vivid life of the Malagasy, encountered by Dubois during his travels. The majority of this short is sensory. Watercolors and pastels in motion capture ranges of feeling and emotion, from the detailed faces of the people of Madagascar to the crude outlined figure drawings of the singing and dancing crowds. Nothing lacks in essence as it all comes back to the short’s central focus of the spirit being central and of great significance to the people of Madagascar. The drawings look unforced and everyday which provide a sense of familiarity and allow the watcher to easily relate to the experience. At the same time, they are not carelessly thrown together without thought. The form of animation used by Dubois contrasts greatly with the increasingly modern forms of animation with shiny, smooth forms and exact sharp edges. His more natural technique of sketching and painting the landscapes, structures and figures he met throughout his trip reflects the simplicity of life in Madagascar in contrast with more developed western countries. The clean imagery and rhythmic song that serve as the base for this short film created a true sense of authenticity that immediately draws the watchers attention.
Having set an upbeat tone, Dubois then uses this platform to introduce the main focus of his film- the ceremony of Famadihana. What foreigners can easily mistake as a mournful ceremony in name, famadihana or The Turning of Bones is rather a celebration of ones ancestors and their spirits that remain to help and guide the reminiscent family members. When invited by his friend George to a Famadihana ceremony being held, Dubois’s character hesitantly accepts unsure of what to expect, and rightfully so. George refers to the ceremony with a light in his eyes and excitement in his voice despite its foreboding name. Following this exchange, we travel with Dubois’ character, experiencing through his eyes the spirit that lies within the village communities he passes on his way to Ambano Village where the famadihana will take place. As we flip through the pages of his journey, we see the smiling faces of locals, detailed so that their contenance in conveyed with a sense of realism. We see words like “Confiance”, Trust, highlighted within a paragraph that tells about the vans crossing of an old makeshift bridge. We realize that there is a sense of trust that is put in the community, its people, their spirit and the land keeping the villages going.
When we arrive in Ambano with Dubois’character, he is presented with looks. It is obvious that he is a foreigner. However, it becomes clear that this tone is one of welcome as the music picks up and begins to usher in the commencement of famadihana. Colors, movement and the sound soulful beating drums fill this moment. People drink, dance laugh and talk amongst themselves, the living, as well as with the souls of their ancestors. Songs are sung with a joyous air as people circle the main family’s house. As the tradition goes, every 7 years a family visits the tombs of its passed ancestors and remove their loved ones bones from the earth to give thanks for the blessing they have sent from the spirit world. At this point, Dubois’ journey becomes an experience of sensory overload. Despite the positive start to his trip, this aspect breaks off into a bit that expresses the more sorrowful nature of the ceremony. The drawings get darker and images of crying family members being patted on the back arise and fade out to reveal brittle bones that become the main focus of Dubois’ piece. Their pull is almost magnetic and incites wonder into the history of this deep-rooted tradition. The intense flipping between images of simultaneous sorrow and celebration suddenly cuts to black implicating the end of Dubois’ voyage. The previously quick beating of drums is reduced and a more calm air fills the scene as watercolors depict Dubois’ character boarding a plane that will take him away from his unforgettable experience.
As the credits role at the end of this eleven-minute short film, it is startling to realize how much of an experience was created through the use of such simple means. Bastien Dubois not only gives his film such a tenacious presence, but also stimulates the watcher’s senses with color, movement, and music, bringing the life of the Malagasy home to a more relatable platform. Nothing seems unfamiliar, as the welcoming smiles of locals and warm atmosphere of the vast landscapes create a sense of community for the watcher. Ending as it began, following the lemurs of Madagascar into the foliage of the wilderness, the film evokes a sense of resolve. Paralleling the meaning behind famadihana, the life of the Malagasy also flows cyclically as everything is one; the land, the people, and their spirits.
Links:
Madagascar, un carnet de voyage
Bastien Dubois talks about his experience with making the short film
