In Jakob Schmidt ’s Planemah , an impatient king becomes obsessed with a philosophical query that labor him beyond the edge of madness — and into a place of uttermost intergalactic turmoil .
In an interview withDirectors Notes , Schmidt explicate his inspiration for the report , and the film ’s sorta - portmanteau word of a deed of conveyance :
When I write the hand for Planemah I was intrigued by the idea of a protagonist who is seek for ‘ something ‘ until he figures out that the solvent of his doubt is inside of himself . This basic estimate was finally coalesce with the account of a theatrical role who desperately go after the secrets of his own existence and the cosmos . The challenge was to combine all these complex parts into a short fib . At that point I decided to choose the prosperous structure narrative form of a fairytale and tried to clash it with unexpected component such as the music and the designing of the fiber and the worlds . With the film title Planemah my aim was to create a strange and maverick give-and-take gibe the context of the story – ‘ Planemah ’ is a word twist of ‘ Planet nightmare ’ .

Extra points for that groovy rock ‘ n ’ roll end - credits muddle , too .
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