Like in the famous short story "The Yellow Wallpaper", a young woman suffers from anxiety while trapped in a faded and claustrophobic room. The Junge Frau's anxiety is mostly about her image: eyes seem to pop out of the wall and glare at her, and marks (the graphite drawing, which provides a thematic match for her self-identity) and ink-puddles trace around her and sometimes attack her while she attempts to reconcile her image by doing things like cutting her hair and putting on lipstick.
This movie is really interesting because it looks like a live-action movie when it's closer to stop-motion animation. With enhanced animation effects, the space between the marks the Junge Frau makes and the reality she exists in is sutured into one: drawn animation on the wall meets active animation of her figure as it sometimes jumps or pops within the frame. In a way, this movie is a much more experimental approach to the techniques Dave McKean used in "MirrorMask," where the boundaries between live-action and animation are blurred even greater than they were when the comic-book adaptations of "Sin City", "300", and "Casshern" came along.
--PolarisDiB
This movie is really interesting because it looks like a live-action movie when it's closer to stop-motion animation. With enhanced animation effects, the space between the marks the Junge Frau makes and the reality she exists in is sutured into one: drawn animation on the wall meets active animation of her figure as it sometimes jumps or pops within the frame. In a way, this movie is a much more experimental approach to the techniques Dave McKean used in "MirrorMask," where the boundaries between live-action and animation are blurred even greater than they were when the comic-book adaptations of "Sin City", "300", and "Casshern" came along.
--PolarisDiB