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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Renaissance
christian volckman,
onyx films
Original: Image of Renaissance | 4724 * 2011px | 2.2 MB
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Paris, 2054. Ilona Tassueiv (Romola Garai), a brilliant young researcher is violently kidnapped. No ransom is demanded and initial attempts to find her are in vain. Avalon, a giant multinational corporation and her employer, wants her to be found at any cost. Dellenbach (Jonathan Pryce), Avalon’s CEO, has requested that Officer Bartholomew Karas (Daniel Craig), a hostage retrieval specialist and the most controversial cop in the force, be in charge of the case...
Karas finds a connection between Ilona and disgraced scientist Dr Jonas Muller (Ian Holm), and he meets Ilona’s equally beautiful sister Bislane (Catherine McCormack). He builds up an intriguing picture of the missing girl and, as the snow begins to fall, he retraces her movements through the urban jungles that are the new Parisian districts: he is spied on and threatened, witnesses are assassinated and someone tries to kill him.
The cop no longer knows if his quarry is victim or villain, angel or monster. Tracking Ilona down becomes a matter of life or death for Karas and perhaps for the whole of civilization. She holds the scientific key to a protocol, which could determine the future of the human race; whether man can be made God: the Renaissance protocol.
As an edgy thriller, Renaissance finds itself at the crossroads of several genres. It is representative of our times because it contains several different influences, mixing humanity and pop culture. This world, in its entirety, reflects the interior state of the characters.
The idea of using monochrome was to return to the roots of cinema, in its raw and primal form. This radical monochrome element meant we could transcend the technological problems allowing us to avoid the usual problems of rendering skin tones. Linked to Mocap, we find ourselves plunged into a particular world which goes beyond the traditional duality of animation and real action films. The effect in the cinema is new. The image is defined only by the dapples of white light from the projector. The viewer loses the idea of a frame and becomes absorbed in a world without frontiers.
Karas finds a connection between Ilona and disgraced scientist Dr Jonas Muller (Ian Holm), and he meets Ilona’s equally beautiful sister Bislane (Catherine McCormack). He builds up an intriguing picture of the missing girl and, as the snow begins to fall, he retraces her movements through the urban jungles that are the new Parisian districts: he is spied on and threatened, witnesses are assassinated and someone tries to kill him.
The cop no longer knows if his quarry is victim or villain, angel or monster. Tracking Ilona down becomes a matter of life or death for Karas and perhaps for the whole of civilization. She holds the scientific key to a protocol, which could determine the future of the human race; whether man can be made God: the Renaissance protocol.
As an edgy thriller, Renaissance finds itself at the crossroads of several genres. It is representative of our times because it contains several different influences, mixing humanity and pop culture. This world, in its entirety, reflects the interior state of the characters.
The idea of using monochrome was to return to the roots of cinema, in its raw and primal form. This radical monochrome element meant we could transcend the technological problems allowing us to avoid the usual problems of rendering skin tones. Linked to Mocap, we find ourselves plunged into a particular world which goes beyond the traditional duality of animation and real action films. The effect in the cinema is new. The image is defined only by the dapples of white light from the projector. The viewer loses the idea of a frame and becomes absorbed in a world without frontiers.
Christian Volckman (FR) joined the Ecole Superieure des Arts Graphiques in 1989 where he studied drawing, painting and photography. His first full-scale work, Maaz, a sci-fi story, won 32 prizes in different festivals. Renaissance marks Christian Volckman’s first feature film.