Something Old, Something New: The End of Evangelion / It's Such a Beautiful Day

I watched Don Hertzfeldt's masterpiece and Hideaki Anno's nihilistic OAV within days of each other, and I could not help but be drawn by each. Not simply for their respective demonstrations of avant-garde, uncompromising animation, but for the cosmic sense imparted through mental illness in each. They are great films, among the greatest works of modern animation, and I jumped at the chance to write more about either.

My full piece is up now at Movie Mezzanine.

It's Such a Beautiful Day (Don Hertzfeldt, 2012)

Don Hertzfeldt brings a trilogy of short films about a psychologically impaired everyman named Bill to a close with It’s Such a Beautiful Day, his longest and most ambitious work to date. The 23-minute film is a tour de force for the filmmaker from its opening images, which flicker onto the screen and back into darkness with a literal gasp. Hertzfeldt’s prior two films, Everything Will Be O.K. and I Am So Proud of You, delved into Bill’s life with aesthetic subjectivity. The director’s mash-ups of forms, avant-garde collages of images, objects and lights, were never more prominent as he used them to visualize the poor protagonist’s slipping grasp on reality as his mind slowly rebelled against him.

Taken with those films, as a feature-length fusion of the three shorts now allows, It’s Such a Beautiful Day begins as a (relatively) logical continuation of the mounting visual instability. On its own, however, the Brakhagean intensity that ushers in this final chapter is radical in its immediate impact and only more powerful when the intellectual play of the construction is bent toward emotional communication. The foundation of Hertzfeldt’s wild compositions are deceptively simple pencil drawings, the sort where a single figure is always visibly shifting even when not moving as each frame shows contains an outline with subtly different shading.