Анимация протеста

“Подвергаются переосмыслению и моменты национального величия, такие как полет в космос знаменитой Лайки. Будто постскриптумом к «Белке и Стрелке», где космические собаки оказывались героями, «Лайка» говорит о предательстве и о несчастной участи животного, ставшего жертвой человеческих амбиций. Фильм, правда, сделан в Англии нашей бывшей соотечественницей Августой Зурелиди, однако хорошо вписался в новый тренд российской анимации.“

Article by Мария Терещенко/Maria Tereshenko

“Laika is the touching story of the first dog sent into orbit, launched by Russian scientists in 1957. The short, conceived in November 2008 and completed last February, was directed by Avgousta Zourelidi as her graduation piece from the National Film and Television School. There are two key characters: the space dog Laika (voiced by Rebecca O’Mara) and S. Koroliov (Yuri Klimov), a pioneering scientist who is now considered to be the father of Soviet aeronautics in space. The story follows Laika as she prepares for and eventually launches into space, and is forced to make a brave decision to save her own life after the failure of the technology around her. Laika covers both the emotional impact of space exploration, and a dog’s devotion and loyalty to her masters. With a screenplay written by Orhan Boztas, character designs by Zourelidi and backgrounds by Folashade Olagundoye it carves an unforgettable tale."
Written by Tiffany Daniels, Editor of Drunken Magazine

Article by Roxanne Mehta 
Oct 2010

"Another up and coming director is NFTS graduate Avgousta Zourelidi, who helmed the short animation film Laika, about the first dog in space. The animation is thoroughly well conceived and creates a vivid atmosphere with some superb visuals and light-hearted humor. It won praise at the Shanghai International Film Festival and has subsequently screened at the Krok International Animation festival in Russia and the prestigious Stuttgart Animation Festival in Germany."

Article by Christopher H. Wright


Extract from the Interview
Q.  Some filmmakers wait until the final hour to begin considering post-production sound.  Did you plan ahead regarding sound design and audio sweetening or did you consider the audio aspect early on?  Were there any pros or cons related to your timeline of post-production sound?
A. For my graduation film ‘Laika’, which I made during my studies at the National Film and Television School, sound design was extremely important and had to work on a number of levels. The main character of the film, Laika, was a dog and had no dialogue so sound design was used to push forward and communicate her thoughts and emotions with the audience. It also had to create the atmosphere of outer space, weightlessness and growing tension.
As we began working on the script I had already started to think about the sound design for the film and in what way it should be used. Once the script was finished I teamed up with a sound designer Roger Low and a film composer Paul Lambert, both students from NFTS, and we began working out the structure of the sound design.
The film runs on two parallel levels, Laika’s adventure in space and the memories of her life back on Earth. We decided to use mainly music in the flashback moments to emphasize the emotional journey that she went through and we also used it towards the end of the film where we needed to build tension. Everywhere else we used just sound effects.
As the production continued and we began editing the finished film, Roger and Paul started working on specific sounds effects and music cues. It was very beneficial to have rough tracks ready as we were editing, because it helped us with the pacing and timing of the film.
For the final track laying we were given three weeks, during which the final music score was composed and recorded. Because of the time limitations the final sound had to be mixed before we actually finished all the shots, which created a few problems in the edit but with some hard work from my editor Marianne Kuopanportti we managed to finish the film on time.

Article by Adam A. Johnson 

To read the full interview please click on the SFX Source or go to