details

TECHNICAL DETAILS

Nail Films, Sweden/Germany 2012
76 min, digital, 4:3, b/w and color, Dolby 5.1
Directors Max Andersson, Helena Ahonen
Writer/Designer/Photographer/Animator/Editor/Producer  Max Andersson
DV photograper  Helena Ahonen
Co-designer  Lars Sjunnesson
Sound designer Per-Henrik Mäenpää
Co-producer Michael Sevholt

With Lars Sjunnesson, Max Andersson, Helena Ahonen, Štefan Skledar, Katerina Mirović, Ivan Mitrevski, Igor Prassel, Igor Hofbauer, Radovan Popović, Sasa Rakezić, Vladimir Nedeljković, Anders Möllander, Mirza Bezirević, Nedim Ćišić, Marko Tomaš

Music by Idoli, Termiti, Gnjevni Crv, Vuneny, Luna, Električni Orgazam, Parketi, Delfini, Klopka za Pionira, Mono-ton, Dubioza Kolektiv, Tito’s bojs, Obojeni Program, Crveni Koralji.

MAX ANDERSSON BIOGRAPHY
Max Andersson is the author of comics such as PIXY, DEATH AND CANDY, CONTAINER and the director of short films including NAIL BABY and the multiple award-winning ONE HUNDRED YEARS. His stories of tractor children, intoxicated fetuses, homeless houses, meat trees and pet guns have been translated into twenty languages and his images, objects and installations have been shown in numerous exhibitions around the world, earning him a global underground cult following. Since 1997, Max Andersson lives and works in Berlin.

FILMOGRAPHY
Feature:
Tito on Ice (2012)

Short films:
Flat Dog Town (2016)
Lolita separerar (Lolita Separates, 1989)
Varför är det så mycket svart (1988)
Spik-Bebis (Nail Baby, 1987)
Ingen Kommentar (No Comment, 1987)
One Hundred Years (1984)

BIBLIOGRAPHY (SELECTION)
Utgrävningen (2016)
Max Andersson – Svenska illustratörer och konstnärer (2011)
Container (2005)
Bosnian Flat Dog (with Lars Sjunnesson, 2004)
Döden (2003)
En skissbok av Max Andersson (2002)
Death & Candy (1999)
L’Excavation (1997)
Vakuumneger (1994)
Pixy (1992)

DIRECTOR’S STATEMENT
I got into the comics medium early, around age four. I liked the smell of print almost as much as the smell of gasoline. I wanted to be a car mechanic but my parents insisted on comics. My first strip was silent and ended with the protagonist being blown to pieces. Later I learned the alphabet.
After a few decades I got bored and turned to filmmaking. My first films were shot in 35mm color cinemascope with dolby stereo sound. As I got more experienced I upgraded to 16 mm and mono sound. Finally I made a black and white super-8 silent movie. Then I returned to comics. I don’t know how to animate on the computer. I missed the entire digital revolution in the film medium and have simply picked up where I left in 1990. Paradoxically, analog craft has become so rare that it now appears as something innovative and revolutionary.

HELENA AHONEN BIOGRAPHY
A professional hat designer by trade, Helena Ahonen maintains her own studio and shop in Berlin. TITO ON ICE marked her debut as a director and cinematographer. Since 1995 Helena has collaborated regularly with Max Andersson on art projects.

LARS SJUNNESSON BIOGRAPHY
Lars Sjunnesson was born on the outskirts of Malmö in 1962. He has made a number of books with comics even though he thinks comics are silly. His stories are often about misfit characters who for some reason are at war with society. He says they reflect himself and his world view.
He is also partly responsible for the set and character design of TITO ON ICE.

LARS SJUNNESSON BIBLIOGRAPHY
Möte med monsunen (Meeting with the Monsoon, 2010)
Åke Jävel (Åke Ordür, 2007)
Bosnian Flat Dog (with Max Andersson, 2004)
Om kriget kommer (In Case of War, 2004)
Tjocke-Bo (Big Fat Bo,1998)
Raj-Raj (1993)
Åke Jävel – Århundradets hjälte (Åke Ordür – Hero of the Century, 1990)

PER HENRIK MÄENPÄÄ BIOGRAPHY
Per-Henrik Mäenpää is a film composer and sound designer. He has composed music for several successful award-winning films, including Lasermannen 2006, Hästmannen 2006 and Kokvinnorna 2011. Parallel to composing, Per-Henrik often works with sound design. For TITO ON ICE, he has created an audio universe full of analog noise, rustling papers, feedback and interference which in a congenial way enhances and expands the film’s visual world.

MUSIC
The music of Tito On Ice is not of the popular brass band type which, in the West, has come to be synonymous with the Balkans, but rather Yugoslavian post-punk from the groundbreaking “Novi Val” scene in the early 80’s as well as contemporary indie music, complemented by examples of the strong and unique Yugoslav wave of beat music and garage rock in the ’60s.
The soundtrack includes the top names from these eras like Idoli, Elektricni Orgazam, Gnjevni Crv (Angry Worm), Luna, Obojeni Program, Termiti, Indexi, Delfini and Crveni Koralji as well as bands from the more recent post-Yugoslav scene: Klopka za Pionira (Trap for Pioneers) Mono-ton, Parketi, Vuneny, Dubioza Kolektiv, and Tito’s Bojs.

THE ARTISTS
Aleksandar Zograf (a pseudonym of Sasa Rakezic) is a Serbian comics artist. Zograf’s work, characterized by both journalistic and surreal elements, cuts to the heart of life in the former Yugoslavia. In books like Life Under Sanctions and Bulletins from Serbia, he portrays the region’s emotional twisting and impossible conditions in a dark yet amusing manner. During the NATO bombing of Serbia, Zograf’s home town, Pancevo, was a frequent target; he saw the industrial zone in Pancevo razed several times over, from the “comfort” of his apartment window. Works by Zograf have been translated and published in many European magazines, and his solo titles have been issued by publishers in France, Italy, Germany, Spain, etc.

Igor Hofbauer is a Croatian comics artist, illustrator and poster designer. His work has been published in anthologies and magazines all over Europe as well as in his solo books Prison Stories and Firma. Hofbauers “handmade” concert posters for Club Mocvara were a distinct feature of the Zagreb cityscape during the early years of the 21st century, with a very personal aesthetic shaped by b-movies, science fiction and Yugoslav socialist architecture. The posters have been shown in several exhibitions in Italy, Holland, Germany, Greece and Portugal, and also included in the book The Art of Modern Rock: The Poster Explosion.

THE BOOK
Bosnian Flat Dog
The 1999 Nato bombing of Serbia. 
A grenade shell from a Sarajevo souvenir shop. 
A refrigerator with the frozen mummy of Tito. 
These serve as the starting point for a journey further and further down the collective subconscious of the Balkans, where the borders between dream and reality are erased and redrawn until they form a tale as exciting as it is fantastic, a tale which could be about our times and a torn Europe but just as well might be a voyage into the psyches of its authors or a discussion about the essence of drawing.
Max Andersson and Lars Sjunnesson both contributed to every single drawing and line of dialogue to such an extent that today they no longer know who did what. This has led to the emergence of an independent artistic entity; one that is neither of the two, but something else, unknown yet strangely familiar and perhaps a little bit scary.
BOSNIAN FLAT DOG, which includes an illustrated glossary, photos and detailed maps, is currently available in Swedish, German, English, Italian, French, Czech and Slovenian editions.

ABOUT TITO ON ICE:
“[Tito on Ice] is a mischievous combination of documentary, fiction, semi-journalism, gore and stop-motion animation which absolutely carnivalizes post-Yugoslavian mythology and splendidly captures the spirit of the Balkan underground.”
– Michał Bobrowski, ANIMATEKA

“Tito on Ice is weird, informative and does something only great films do: it harmonizes form and content into a perfect cinematic rhythm.”
– Selina Crammond, DISCORDER MAGAZINE

“This is a radical and revolutionary film with a wholly informative account of history, but it’s as far from a textbook lesson as one can get. The bold, daring, and wickedly funny Tito on Ice is proof that creativity truly springs from madness.”
– Pat Mullen, CINEMABLOGRAPHER

ABOUT BOSNIAN FLAT DOG:
“Rarely have the Balkans been depicted with such wacky precision.”
– Stefan Helgesson, DN

¨In ‘Bosnian Flat Dog’ Max Andersson and Lars Sjunnesson take us on a funny
but very disturbing excursion through a traumatized Balkan landscape populated by a number of traumatized Bosnian psyches.  Absurdist and surreal the story might be, but it touched the raw nerve of truth, making me wince with
remembrances of my own time in Sarajevo.¨
– Joe Sacco (PALESTINE, SAFE AREA GORAZDE)

“This is a damned compelling book if you want a read that will wake you up and not lull you to sleep.”
– Win Wiaciek, Now Read This!

 

CONTACT
Nail Films
http://www.maxandersson.com
nailfilms@maxandersson.com

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