Adam Elliot on MEMOIR OF A SNAIL and Stop Motion Animation – Pam Grady interviews

Adam Elliot, whose latest animation, Memoir of a Snail, is currently in theaters, can’t imagine spending his days attached to a computer. That distaste for a life spent perpetually engaged with technology altered the course of his life when he became interested in animation while in film school in his native Australia. Instead of pursuing computer graphics like so many of his classmates, he forged his own path with stop-motion animation, joining a select group that embraces the retro form that includes Tim Burton, Henry Sellick, Guillermo Del Toro, and the folks at England’s Aardman Animation and Oregon’s LAIKA Studios.

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MEMOIR OF A SNAIL – Review by Leslie Combemale

The first thing you should know about Memoir of a Snail is that while it IS stop motion animation, it’s for grownups. This is of a piece with the other entries in animation auteur Adam Elliot’s Trilogy of Trilogies, the seventh in his series, or clayography, as he calls it, and second feature after the highly acclaimed Mary and Max. He won an Oscar for his animated short Harvey Krumpet. Elliot’s adult world is full of dark humor and even darker life experiences, often including sexual situations, mental illness, and complicated, sometimes abusive relationships. Memoir of a Snail is no different in that respect, but is also at least as charming, winning, and off kilter as his other films. It’s deliciously dark and delightful, creating hope where you’d never expect it to be, like in some tenacious weed.

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MEMOIR OF A SNAIL (Melbourne IFF 2024) – Review by Nadine Whitney

Anyone familiar with the work of stop motion animator Adam Elliot (Harvey Krumpet, Mary & Max) knows the Australian storyteller creates expansive emotional universes within his carefully handcrafted worlds. Memoir of a Snail is a beautifully melancholy tale of broken hearts and learning to heal them. Memoir of a Snail is a miracle of compassion.

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