SUMMARY: The nature of existence itself is encapsulated in the frenetic depiction of one family’s lifetime.
WHY IT’S HERE: When Chris Hinton released ‘Flux’ it had been eight years since the release of his last animated short. In this space, Hinton made a bold stylistic leap and his comeback film ‘Flux’ is ample evidence of this. Unlike the attractive, colourful cartoon drawings of ‘Blackfly’, Hinton’s ‘Flux’ features an extraordinarily rudimentary visual style to tell an ambitious story of life and death with exceptional wit, humour and emotional resonance. Hinton’s characters and their surroundings are rendered as childlike sketches with no consistent proportions. The shape and size of the people and their house change with disorientating regularity and if a character wants to enter the house they will often extend their arm and drag it over rather than make the walk to the door. In adopting this childlike logic, Hinton has brilliantly boiled down existence to its bare-bones. And yet, as we watch these frenetic sketches of human beings wobble around the screen, there is a genuine connection. One moment in particular in which the happy family of husband, wife and daughter all come together is genuinely touching. ‘Flux’ is an amazingly bold gambit and it worked so well that Hinton would pursue this style to great effect in further animated shorts.