The color of the animation was also made on TVpaint, in several layers of paint. All the animation was done in TVpaint, a software that allows a 2D rendering. The animation posings were done partly on paper, and then redrawn on TVpaint. Can you describe the method of animation, and how did you come to settle on this style?įor the method, I made all the line scenery on paper and then I made the color scenery on photoshop. “Miracasas” boasts vivid and imaginative animation. “Le Salsifis du Bengale” was a criticism of tyranny, and ”Miracasas” is a criticism of certain religious aspects, of certain societal functions that lead to unnecessary deaths, while proposing a vision of what could be a way towards the beyond. There is obviously this taste for travel, for the representation of universes, landscapes, cultures that fascinates me. In ‘Miracasas,’ I take you to South America, to Brazil more precisely. This has always been a question for me, and the idea of proposing a vision of what could be a last path towards the afterlife, toward a liberation, seemed interesting to me. The film was somewhat therapeutic, because it speaks of the trans-generational. The stories of ghosts, wandering spirits, souls in pain, which could be, for me, the reflection of stories that do not belong to us but that accompany us, take on new meaning. The film is about reincarnation, and spirituality is something that has always accompanied me, but which has become more present for me in recent years while making “Miracasas.” The story was already well advanced by Augusto Zanovello when I started working on it, and it was then transformed as the animatics progressed. What is the inspiration for the story of Miracasas? Variety spoke with Stolz ahead of the film’s debut at Annecy. In a story which challenges the foundations of religion and stares down the question of mortality, Stolz’s artwork is both romantic reprieve and an epiphany of light. Showing a gift for collaboration (her short “Le Salsifis du Bengale” was an adaptation of a Robert Desnos poem), Stolz interprets and transforms Augusto Zanovello’s story with her singular style, with wide brush strokes, clever humor and a nod to classic animation.

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