Alberto Mielgo: "The aesthetics of Disney and Pixar have become a dictatorship"

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'The wiper'

is an animated short film of just 12 minutes, but explaining it, succeeding in describing what it is about, what it wants to tell or what its reasons are could take a lifetime.

Or even more.

"My idea was always to flee from the narration, from the plot. I want and want the viewer to end up being one of the characters in the film, that the film generates memory, that activates in those who see it feelings of their own past" , explains via Zoom from Los Angeles its author,

with the clear and evident intention of not explaining anything.

Is it possible to define love -because that is what it is about- without leaving in the effort of definition the defenseless corpse of precisely what is defined?

It would be said that

It is not a film to see but to feel, it is not so much an exercise of contemplation as of simple and elemental passion.

And so.

It is therefore fair that the film has ended up becoming one of the most celebrated cinematographic artifacts (because it is strange, peculiar and unique) of the year.

After having been selected in the Directors' Fortnight at the last Cannes Festival, he now arrives at the Oscars as a nominee and, who knows if that's the case, even a favourite.

"No other award has the relevance that the Oscar. Perhaps there are others that you may like more or even feed your ego more, but the international repercussion of the Academy Awards is unbeatable.

Well, that's what an Oscar can give you.

Forget about vanity, "she says, aware of his work moment in the strictest of senses.

Mielgo, born in Madrid in 1979, tells that he is above all and by the grace of himself self-

.

He signed up for an animation course, but had to drop out after six months for the simple reason that he couldn't afford it.

He took the exam and passed for the school of Fine Arts, but after a few months of more or less inspired brushstrokes, he packed his suitcase and went to London.

"The truth is that not even my artistic references, so to speak, are the usual ones in someone who does what I do.

a love I have not given up on. I know each of his books by heart But then, hand in hand with my sister, since I was 12 years old I have mixed

going through the entire generation of New Hollywood from Scorsese to Coppola", he confesses like the one who is happy to declaim each one of his sins not in the confessional in a low voice but at the altar with a loud voice.

Image from 'The Windshield Wiper'.

Alberto is an illustrator, a painter with a certain air of

(tortured realism very close to bloody expressionism or vice versa) and, of course, a filmmaker rather than an animator.

"The problem," he clarifies to ward off misunderstandings, "is that animation is considered a genre and not.

he says. .

And he continues: "Perhaps we are in the middle of a revolution. In the same way that at the time that the studios collapsed back in the 60s with movies like '

', the filmmakers took to the streets to capture life, perhaps we are one step away from something similar.

Distribution channels have changed, platforms have diversified movies to infinity, and there may come a time when we all get tired of Batman's 29th installment." And, at this point, animation.

"The problem is that an animated feature film requires a team of

To make a 15-minute short we have been about 72 professionals involved," he tells input mode.

"This is why the industry is so conservative.

A product is made for an audience between zero and 99 years old that still takes the family to the movies that forces them to buy all kinds of dolls.

It's a strange manipulation that, when it works, works very well", he continues to then pose the challenge and, in effect, the revolution: "What we have to consider now is to make films for adults that do not differ in any way in intention and ambition from movies with flesh and blood actors.

And let that be so to the point that the Oscar category for animated film disappears in the same way that there is no Oscar for black and white films and films in color. ” It is clear.

For Alberto Mielgo, everything changed the moment his short

' hit the Netflix screen in the spring of 2019. Within the series

this miracle broke the mold.

The story of a murder was told.

Or, better, how a woman, after witnessing a crime, fled through the streets of the city.

Behind, the presumed author of the bloody crime.

It was (and is) just 12 minutes thrown on the sliding surface of a Moebius strip where the end is the beginning and the center is found at each of the points on the surface.

What remained was a '

' existential game built on the edge of almost everything: real as clearly as animated;

dream with the evidence of wakefulness.

"It was also a love story, but toxic, a lot," he says.

That short opened doors and offices for him.

"Suddenly, I could count my projects and not get kicked out after 5 minutes," she says.

That one was a construction prodigy,

that has taken him to the Oscars is one of introspection.

And both profoundly universal and, given the case, even eternal.

How to explain eternity?

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