Gobierno de la Ciudad de Buenos Aires Festivales de Buenos Aires

Signe Baumane

Signe Baumane

To dive into Signe Baumane’s world of lubricious and festive stories should easily fulfill multiple needs. For example, drowning your sorrows and experiencing a healthy catharsis with the rest of the people in the screening room. Or seeing how the sublime and miserable nature of our erotic misfortunes reflects on the film screen. So, you’re in for a sure laugh, but also for that blushing spot that comes from relating to what we see on the screen.
Baumane’s short films may also carry us to a place where a conscious will to narrate (by means of popular fable, or stand up handwriting) coexists with a powerful and absolutely unleashed and excessive imagery in which comedy gags devour each other, and there is no moral limit when reaching the most perfect and funny metaphor.
However, and this is no small potatoes, Ms. Baumane and her animated films should be good enough to petrify with remorse and shame those who believe that liberal malformations like Sex and the City represent a highly honest and explicit portrait of female sexuality. Against that New York capitalist monstrosity, Baumane –who was born in Latvia, was Bill Plympton’s disciple for two years, and is a foulmouthed student who left the nest and confessed she thinks about sex every ten seconds– offers us a joyful celebration of life, sprayed with a healthy amount of every kind of bodily fluids: blood, milk, excrement, and especially a torrent of vaginal discharge that seem to be a kind of elixir for eternal happiness.
Add to all that the following anecdote: she has said more than once that she chose to work with animation after watching The Lion King. Do you see now why we love her so much?
The program Bafici will screen (and which the filmmaker decided to name Signe Baumane: Sex and Body Functions) includes her first works made in Europe, featuring a provocative punk folklore spirit (The Witch and the Cow), her essential and extreme educational guide Teat Beat of Sex, works that have a certain Pympton-esque spirit like Dentist or Five Fucking Fables, and for the finale, Rocks in My Pockets, a work in progress of Baumane’s upcoming first feature film, in which she builds a comedy that’s absolutely coherent with the rest of his work, only made with unkind materials such as depression and suicide.
Fran Gayo





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