Salvation Has No Name is a 2022 stop motion animated short, written and directed by Joseph Wallace and starring Itziar Ituño and Yasmine Al Masri.[1][2][3] Told through a dynamic mixture of color and black with a dramatic narrative and international all-female voice cast, it is a unique animated film which explores themes of xenophobia and the refugee crisis.
Salvation Has No Name | |
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![]() Film preview poster | |
Directed by | Joseph Wallace |
Screenplay by | Joseph Wallace |
Produced by | Loran Dunn |
Starring | Itziar Ituño Yasmine Al Masri |
Music by | Kit Wilson |
Production company | Delaval Film |
Release date |
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Running time | 17 minutes |
Country | United Kingdom |
Language | English |
Filming at Aardman Animations studios in Bristol, the animation team includes Tim Allen and Jody Meredith, sound design by David Kamp, and Brothers Quay are acting as creative consultants.[4] The film features the voices of Itziar Ituño (Netflix's Money Heist) and Yasmine Al Massri (ABC's Quantico).[5][3] The film is partly funded by the BFI NETWORK,[6] produced by Delaval Film,[7] and co-produced by Autour de Minuit in France and Animation People in Czech Republic.[8] The film is executive produced by Maisie Williams and Lowri Roberts through their company RAPT.[9] The film is also executive produced by Josiane Wood, Steve Caunce, Mike Layton and Daniel G. Rego and Alice Prodanou.
The project was the winner of the 2017 Visegrad Animation Forum pitching competition.[10] The film had its world premiere at the Edinburgh International Film Festival on 13 August 2022.[11]
A troupe of clowns gather to perform a story about a Priest and a refugee but as their misguided tale unfolds, the boundaries between fiction and reality begin to fray.
Specialized animation critic website Zyppy Frames said: "This risqué film (but with the story's beats firmly rooted in solid narration) had a spellbinding, Gothic trailer and a subject matter of a disillusioned priest falling in love with a refugee. Both narrative framework (a Greek chorus comments on the actual story) and bold imagery join each other in a calculated play".[12]