A fast-paced, action-packed short film that blends handmade electronic puppetry with AI-generated animation to create a surreal battle against anarcho-capitalist chaos. Set in a synthographic version of San Miguel de Tucumán – Argentina, a monstrous creature made of shredded banknotes devours everything in its path, while a squad of handcrafted mechanical toys fights back in an over-the-top showdown. Using satire and absurdity, the film critiques economic destruction, media spectacle, and the rise of authoritarian rhetoric and its violence, turning political discourse into a high-energy, explosive battle for the future of human rights. Shortfilm generated with a fine-tuned Stable Diffusion LoRA on photos of San Miguel de Tucumán, Pika, Lumalabs, Sora, Suno, ChatGPT, Hailuo AI, Photoshop AI Editor, FakeYouAi,
- 1st Prize Digital Media for the AI Generated shortfilm “The Dirty Kommie Toys vs. The Guita Eater: A Freedom Mayhem“– Hochschultage 2025 – Hochschule für Künste Bremen.
JURY STATEMENT FOR THE DIGITAL MEDIA 1ST PRIZE:
Alina Bardavid creates a radical and uncompromising aesthetic in THE DIRTY KOMMIE TOYS VS. THE GUITA EATER: A FREEDOM MAYHEM, blending rage, humor and liberation. Through a combination of film and installation, she creates a dystopian world where makeshift, weaponized “death toys” built from trash and scrap metal rise against an all-consuming money monster. Alongside various mixed media techniques, she uses artificial intelligence to bring her real machines to life, making them the main characters of a raw, hyper-aggressive trash aesthetic that turns its power against corrupt systems. The raw, rebellious energy of the Kommie toys, amplified by a brutal heavy metal soundtrack, transforms this lo-fi resistance into a cathartic event: in a final, explosive showdown, the money monster bursts, spilling all the accumulated pesos across the decayed city, returning money to the people. While the film stages this revolution in full audiovisual force, the installation invites the audience to experience its aftermath – the victorious deadly toys that have survived the battle. Bardavid’s work is not only humorous but also deeply political – a visceral act of resistance shaped by Argentina’s political climate, yet reflective of a broader global trend. With biting humor and visceral intensity, Bardavid delivers an unrelenting act of defiance that is as timely as it is unforgettable.
