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> Puck shows animation films; those kinds of films that we are not used to see on TV. It also selects films from every part of the world looking among the endless artistic content which has produced that genre for a long time. The menu is varied but select and it is especially dedicated to the spirit. The main aim of this project is to intensify the passion for animation cinema or just to recover the cinema experience, particularly, enjoying for a moment the smallest but so great audiovisual work.
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> Puck mostra pel·lícules d’animació d’aquelles que no es solen veure a la tele. Selecciona pel·lícules d’arreu del món buscant entre l’inesgotable fons artístic que ha produït el genere al llarg del temps. El menú es variat peró selecte. Va especialment dedicada l’esperit. L’objetiu és despertar la pasió pel cinema d’animació. O simplement, recuperar l’experiència del cinema d’una forma particular. I disfrutar un instant d’una petita gran obra audiovisual.
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THE PUCK'S VIDEOBLOG



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Contacte / Contacto
Toni Tomàs
Tel. 00 34 973 33 70 09 i 00 34 629 80 50 06
e-mail: tombscreatius@gmail.com
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International Contact
Peppe Cannata
Tel. 00 34 657143177
e-mail: production@tombscreatius.com
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Puck Cinema Caravana és un projecte
produït per Toni Tomàs i Carles Porta.
Direcció ejecutiva: Toni Tomàs
www.tombscreatius.com

Idea original, programació de continguts
i direcció artistica: Carles Porta
www.carlesporta.com

Construcció: Alfred Borràs i Toni Tomàs
Imatge gràfica i realització
de capcelera animada: Carles Porta
Animació: Ruben Hengesback
Disseny Tècnic : Sergio Sisques
Assesorament projecció: Pelai Molins
Suport Informàtic i video: Ramón Segura
Producció: Tombs Creatius & Carles Porta
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FITXA TÈCNICA
Un espai pla d’uns 200m2. Una presa de corrent de 220v. Accessibilitat de pas d’una furgoneta gran i una caravana fins l’espai de l’actuació.
Temps de muntatge: 2 hores. | Durada de l’espectacle: des de 3 fins a 6 h. | Temps de desmuntatge: 1h 30min.
Nota: Els mesos d’estiu caldrà trobar un espai amb ombra. Quan sigui contractat més d'un dia d'espectacle, el recinte disposarà de vigilància nocturna.

Descàrrgues
Dossier tècnic i artístic
Logotip de la col·lecció
Logotip de la companyia
Fotos en alta ressolució

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FICHA TÉCNICA
Un espacio llano de unos 200 m2. Una toma de corriente de 220V. Accesibilidad de paso para una furgoneta grande y una caravana hasta el espacio de actuación. / Tiempo de montaje: 2 h. | Duración del espectáculo: 3 o 6 horas por dia. | Tiempo de desmontage: 1h 30min / Un espacio sombreado en verano. Cuando este contratado más de un dia de espectaculo, el recinto dispondrá de vigilancia nocturna.

Descargas
Dossier técnico y artístico
Logotipo de la colección
Logotipo de la compañía
Fotos en alta resolución

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FICHE TECHNIQUE
DE QUOI AVONS-NOUS BESOIN ? Un espace plat d’environ 200 m2. Une prise de courant de 220V. Accès facile pour une grande camionnette et une caravane jusqu’à l’espace de l’installation / Temps de montage: 2 h. | Durée du spectacle: 3 à 6 heures par jour. Temps de démontage: 1h 30min / Un espace ombragé en été. Si le spectacle a un contrat de plus d’un jour, il faudra prévoir un garde de sécurité pour la nuit.

Téléchargements
Dossier technique et artistique
Logo de la collecte
Logo de l’entreprise
Photos en haute résolution

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DATA SHEET
Requirements/We need: A flat area (about 240 yd2). Electricity 220V. Accessibility for the passing of a big van and a caravan to reach the acting area. / Assembly duration: 2h. | Show with a length from 3 to 6 hours. | Dismantling duration: 1h 30 min. / Shady area during the summer time. In the event that the show would be contracted for more than one day, the exhibition site will have night security services at disposal.

Downloads
Technical and artistic dossier
Logo of collection
Logo of the company
Photos in high resolution

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Spring and Summer 2009

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> Puck muestra películas de animación de esas que no se acostumbran a ver por la tele. Selecciona películas de todas partes del mundo buscando entre el inagotable fondo artístico que ha producido el género a lo largo del tiempo. El menú es variado pero selecto. Está dedicado especialmente al espíritu. El objetivo es despertar la pasión por el cine de animación. O simplemente, recuperar la experiencia del cine de una forma particular. Y disfrutar un instante de una pequeña gran obra audiovisual.
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Puck nous montre des films d’animation différents, ceux que nous ne voyons pas habituellement à la télévision. Les films programmés viennent du monde entier et sont choisis dans le fond artistique inépuisable du genre, des films les plus anciens aux films contemporains. Le programme est varié et choisi. Il voudrait être un aliment pour l’esprit. Son objectif est l’éveil de la passion pour le cinéma d’animation. Puck prétend simplement faire revivre aux spectateurs l’expérience de la salle de cinéma dans cette forme particulière, et qu’ils puissent prendre goût à la projection d’une courte mais grande oeuvre audiovisuelle.
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Reviews about Puck
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Cartoon Brew
Drawn
El País
Motionographer
40 Fakes
Broad.cat
The Animation Show

> Puck arrives everywere
> Puck pot arribar a tot arreu.
< Puck puede llegar a todas partes.



> Porta una selecció de la millor animació independent internacional. Un programa d'uns 15 curtmetratges, amb pelicules pel públic infantil i també per l'adult.

< Trae una selección de la mejor animación independiente internacional. Un programa formado por unos 15 cortometrajes, con películas para al publico infantil y tambien para el adulto.



> Abans d'entrar cal possar-se d'acord i triar una pel·lícula.
< Antes de entrar hay ponerse de acuerdo y escoger una pelicula.



> A dins hi caben comodament 7 espectadors...
< Dentro caben comodamente 7 espectadores...

OPENING 2011


Graphics, animation and music by Carles Porta


OPENING 2009/10


This is the opening of PUCK, our small cinema.
It was made by Carles Porta, with the help of Ruben Hengesbach (animation), in a little room of the big workshop of Toni Tomas in Bellpuig (Lleida), during the hot summer of 2009.

Strange natures, particular ecosystems, imaginary worlds...
and also the emotional landscapes of the human nature.
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Natures estranyes, ecosistemes particulars, mons imaginaris...
i a més a més paisatges emocionals de la naturalesa humana.
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Naturalezas extrañas, ecosistemas particulares, mundos imaginarios...
y además paisajes emocionales de la naturaleza humana.
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At the end there will be nothing but a cubic pixel. This is what Patrick Jean explains in a brilliant way through Pixel, an amazing film that makes us smile and surprises us. On the other hand, the topic presented is not innocent. The end of the film is graphically blunt and premonitory. The physical world, the analogical, the organic and the material ones are directly confronted to the virtual and digital worlds. Among this battle, the human nature: fragile, emotional and diverse. This would be the summary of our program.
It's maybe because of this Pixel threat that nature, from some time ago, claims for our attention. His presence is very important in many author's work in lots of ways.
It seems to be related to the research of the natural, the authentic, the primitive for some people. There is people who need to get some dirt at this computer's age, they need to scape from the aseptic and the artistic domination of the software to look for an accident. The natural stuff increases, rises up from all the spheres of the plastic expression, it's the aesthetics of the handmade things.



But getting dirty is better if we do it at an opencast. Stepping earth or snow and breathing free air. In fact, at the end, if what is real is natural becomes much more attractive than the virtual. Those who go to the country and leave their studio to animate their characters under the sky, in the outside, as Tobias Stretch at Il·luminant or Kirsten Lapore at Bottle do, they seem they have found a parallel reality invisible for the rest of the mortal people. A reality that becomes true to the eye due to the art of animation. Something really magic.



Now, these natural sceneries are the most attractive settings that someone can imagine. Everything is moved and animated because of life's energy. The setting beats, the clouds swing, the sea shakes because of the waves and the wind moves the tree's leaves.



Nature is an eternal source of motives, shapes and laws. A matchless creator genius. A provocative inspiration for lots of artists. Reinventing or recomposing it is a tempting exercise. Maybe unavoidable in the animate world. In some cases, as Eric Leiser's, the natural is mysterious and primitive. Forces and rare creatures inhabit this hypnotic and disturbing forest.



On an experimental way, Zeitguised introduces an exposition as a 3D animation film. There are different places for exposition where buildings made of elements imitating huge human organs with a synthetic look and connected to machines, living architectures and other surprising things are shown. They don't have a clear function. They look like nonsense experiments from a visionary mind, but they are an intense audiovisual experience that causes a great impact.


Babau por trescourt

Moreover, in Babau, imagination wants to create an ecosystem which could live in an unknown galaxy, or it's maybe our own planet during a new prehistoric era in a million years.


Talking about other worlds we finally won't have a chance but the move. At least we will have to plunder the energy resources from somewhere. Anything to subsist, or maybe for the enrichment of a few. Joe Bichard and Jack Cunningham make it clear on Mars. Animation is unique if we need to expose a complex concept in a clear way... So, their exposition becomes very graphic.



But, in the cosmos things may work in a different way. Our perception of reality is made up of many laws that could get out of order and overwhelm us. Reality may look like a crazy dream. As Malcolm Sutherland proposes, our own shadow could be a black hole full of surprises.



If that can happen in the outer space, something as unchanging as gravity is in the Earth could suffer radical changes too with dangerous consequences for its inhabitants. Rubika is a 3D work from Guillaume Plantevin's universe which has an original approach and a surprising end full of suggestions.



Anyway, the human being fragility is not only threatened by natural phenomena. There is also place for emotions and feelings, and that's what Adrien Marigeau exposes amazingly. Old Fangs is a 2010 masterpiece. In the plastic aspect as well as in the narrative. And if we talk about returning to the nature this film is full of symbols and metaphors, in a trip to get over past traumas, deep wounds caused by insuperable meetings. There's no doubt about the difficulties of being a father or a son if you are a wolf.



Stuck in what makes us feeling we can go from the story of a traumatized son to a proud father's one. And so we enclose to the human nature through another kind of trip, a very different one: El Viaje de María by Miguel Gallardo, produced by Fundación Orange. This is a tendering work because it takes part of the living experience. Animation, in this case, is used to explain a reality that most of us ignore. To know and understanding autism through Maria makes us better.
This is our goal, the reason why we watch films.



Watching the sea and taking care of it as this moon does is also a good example of what we can learn. This moon is kind of motherly!



Everybody knows that in the animation world's nature little animals act and behave as people. For instance, they make romantic animated films, like the little bear Komaneko.



Or they also make duos performing famous pop songs playing the ukulele. Here you are then, some music.


http://youtu.be/1aodpb3vFU0

And we close our program with a 'dirty' film for our micro-session of erotic cinema. How exciting is that kind of animation that open our eyes to the truth. All of that is in front of us but we don't know how to see it. And, moreover, with a great humor sense.
That's all folks! (although it's quite enough)


Lleida, dissabte 8 de gener de 2011