Watch: Fresh Guacamole by PES

The shortest film ever nominated for an Oscar.

It may not have scooped a prize at last night’s Academy Awards, but Fresh Guacamole has long been a winner in my heart. This chirpy stop-motion animation is a visual wrong-footer, transforming familiar objects into the delectable ingredients comprising a bowl of popular Mexican dip.

American filmmaker and director PES collaborated with propmaker Craig Currie, animator Dillon Markey and producer Sarah Phelps for four months to create the film, which clocks in at just 100 seconds. PES told BBC correspondent Tom Brook last week:  

[Fresh Guacamole] is looking at cooking in a different way. The idea was to substitute inanimate objects, everyday things that have no food connotations, in for appetizing ingredients in a traditional recipe.

Despite losing out to Disney's Paperboy (a revival of the studio's commitment to hand-drawn animation and the favorite to win), claiming the title of shortest-ever Oscar-nominated film is still a weighty acknowledgement for this bite-sized delight.

 

A still from "Fresh Guacamole" directed by PES.

Charlotte Simmonds is a writer and blogger living in London. She was formerly an editorial assistant at the New Statesman. You can follow her on Twitter @thesmallgalleon.

BBC/Chris Christodoulou
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Proms 2016: Violinist Ray Chen was the star of a varied show

The orchestra soaked up his energy in Bruch's first violin concerto to end on a triumphal note. 

Music matters, but so does its execution. This was the lesson of a BBC Symphony Orchestra and BBC Symphony Chorus programme which combined both a premiere of a composition and a young violinist’s first performance at the Proms. 

The concert, conducted by Sir Andrew Davis, opened with Tchaikovsky’s symphonic fantasy The Tempest, a lesser-known sibling to his Romeo and Juliet overture. The orchestra got off to a fidgety start, with some delayed entries, but fell into line in time for the frenetic chromatic runs that drive the piece. The end, a muted pizzicato, was suitably dramatic. 

Another nature-inspired piece followed – Anthony Payne’s composition for chorus and orchestra, Of Land, Sea and Sky. Payne drew on his memory of watching of white horses appearing to run across water, as well as other visual illusions. At the world premiere, the piece began promisingly. The chorus rolled back and forth slowly over scurrying strings with an eerie singing of “horses”. But the piece seemed to sink in the middle, and not even the curiosity of spoken word verse was enough to get the sinister mood back. 

No doubt much of the audience were drawn to this programme by the promise of Bruch violin concerto no. 1, but it was Ray Chen’s playing that proved to be most magnetic. The young Taiwanese-Australian soloist steered clear of melodrama in favour of a clean and animated sound. More subtle was his attention to the orchestra. The performance moved from furious cadenza to swelling sound, as if all players shared the same chain of thought. Between movements, someone coughed. I hated them. 

Ray Chen in performance. Photo: BBC/Chris Christodoulou

Chen’s playing had many audience members on their feet, and only an encore appeased them. It was his first time at the Proms, but he'll be back. 

The orchestra seemed to retain some of his energy for Vaughan Williams’ Toward the Unknown Region. Composed between 1904 and 1906, this is a setting of lines by the US poet Walt Whitman on death, and the idea of rebirth.

The orchestra and chorus blended beautifully in the delicate, dark opening. By the end, this had transformed into a triumphal arc of sound, in keeping with the joyful optimism of Whitman’s final verse: “We float/In Time and Space.” 

This movement from hesitancy to confident march seemed in many ways to capture the spirit of the concert. The programme had something for everyone. But it was Chen’s commanding performance that defined it.