Two wins in one day. The triumphant return of Igor Kovalev

Utrecht. Director Igor Kovalev won at once at two animation festivals with his new author’s film "Before Love".

Independently from each other, the jury of two festivals - the Holland Animation Film Festival and the Open Russian in Suzdal - one day awarded the Grand Prix to the film of the Russian director Igor Kovalyov. Moreover, in Utrecht the decision was made unanimously. And if the forecasts regarding the award at the Suzdal Film Forum were justified, then the victory in the Netherlands was a complete surprise for the director.

Kovalev is a legendary person. The result of his tandem with Alexander Tatarsky was the emergence of the Pilot studio, the creation of the main animated masterpieces of the 70-80s. Among them are Plasticine Crow, Wings, Legs and Tails, tapes about Captain Vrungel and Kolobkov leading the investigation. After - cool somersault. Relocation to the USA and successful work for almost 20 years. Among the hits created are the full-length The Rugrats Movie, the continuation of the adventures of the restless kids who are familiar from the serial series Oh, These Kids. His American portfolio also includes Milch and Flying Nansen. In 2011, the biography again changes the trajectory, now in the direction of Russia. Bekmambetov Studio Bazelevs can be proud of the artistic director of the animation division, whose level and authority is unconditionally recognized throughout the world.

Kovalev’s author’s animation comes out with big breaks. After the successful “Milk”, 10 years passed before the release of the new film about loneliness and the collapse of love. There are several reasons for this. Participation in the creation of commercial animated feature films and TV shows at the Klasky Csupo studio (American period) is a source of funds for creating author’s cinema. The second reason is a thorough and lengthy study of all the details and nuances of the future picture, including the script, design, voice acting, visual effects.

The picture was admired by experts in the field of animation, who called it a work of art. It is a bit more difficult for Russian viewers to get used to the gloomy style of Kovalev’s films. He himself sees the reason for this to a certain degree of infantilism inherent in domestic animation and familiar to the Russian audience. Attempts at experimentation and innovative self-expression do not always find understanding and a warm welcome in her. Even in animations designed for adults.

Elena Tanakova © Gallerix.ru