Between frames
Enki Bilal is possibly the most famous international graphic novel artist to visit town in recent times. Strong women, powerful strokes, fantasy plots in a realistic world… that’s Bilal for you. When Lambiek describes Bilal’s work as "magically oriented but realistic future…giving him the perfect setting against which to illustrate his fears", he is not off the mark. Forget the anti-heroism movement that swept the French comic book industry in the 1960s and 70s. Don’t even think about predictable endings that mar most comic books. Bilal’s stories lie between the white space that separates two frames in a comic book, that is, imagination.
"Comics guarantee maximum freedom, much more than cinema, which is an industry, an endeavour to settle commercial obligations. Comics are like novels — they tell a story and that too a fantastic one. Though I do not like to manipulate my characters, they fall easy preys to factors like religion, politics, globalisation," says Bilal, who was in town to participate in the series of events organised by The French Association.
Born to a Czech mother and a Bosnian father, he spent the first nine years of his life in Belgrade, where horrors of the Second World War dictated life. The Bilals moved to Paris in 1961. And in 1972, he started at Pilote making illustrations, covers and short stories. Three years later he came across Pierre Christian, with whom he collaborated to create comics by combining comic strips with photographs. Their venture gave birth to Légendes d’Aujourd’hui, La Croisière des Oubliés and Partie de Chasse. And in 1980 he started on Nikopol-trilogy, besides theatre, film and opera. "My biggest fear is religion, fundamentalism. A few months before 9/11, I was working with my team in Manhattan when we did a scene in which the twin towers were removed virtually. I did not know what lurked around the corner," he adds.
His films, especially Immortel (ad vitam), can be called hybrid — a heady mixture of humans and alien-like creatures. His CG adaptation of his Nikopol trilogy (Immortel) is set in the year 2095. A floating pyramid shows up in Manhattan, a place where humans and aliens live side-by-side. Horus’ task is to find a blue-haired girl and get her pregnant within seven days to regain his immortality. He takes over a human body, of a man who has spent 30 years in cyrogenic sleep, to use as a host.
"Compared to a Hollywood team of 600, mine was only 200. Remember high quality computer graphics had to be generated and this required technical expertise. I am thinking of adapting the plot for a theatre production soon," he adds. Bilal’s love for comics stems from the fact that "much can happen between two frames. The story lies between them. As for the characters, I tend to use abstract and realistic forms as and when required."
His eye for details, design and visually stunning places is breathtaking. If you are wondering what comes after Immortel, you have to wait, for Bilal’s next plot is still in the head and will take time to take shape on paper.
"Comics guarantee maximum freedom, much more than cinema, which is an industry, an endeavour to settle commercial obligations. Comics are like novels — they tell a story and that too a fantastic one. Though I do not like to manipulate my characters, they fall easy preys to factors like religion, politics, globalisation," says Bilal, who was in town to participate in the series of events organised by The French Association.
Born to a Czech mother and a Bosnian father, he spent the first nine years of his life in Belgrade, where horrors of the Second World War dictated life. The Bilals moved to Paris in 1961. And in 1972, he started at Pilote making illustrations, covers and short stories. Three years later he came across Pierre Christian, with whom he collaborated to create comics by combining comic strips with photographs. Their venture gave birth to Légendes d’Aujourd’hui, La Croisière des Oubliés and Partie de Chasse. And in 1980 he started on Nikopol-trilogy, besides theatre, film and opera. "My biggest fear is religion, fundamentalism. A few months before 9/11, I was working with my team in Manhattan when we did a scene in which the twin towers were removed virtually. I did not know what lurked around the corner," he adds.
His films, especially Immortel (ad vitam), can be called hybrid — a heady mixture of humans and alien-like creatures. His CG adaptation of his Nikopol trilogy (Immortel) is set in the year 2095. A floating pyramid shows up in Manhattan, a place where humans and aliens live side-by-side. Horus’ task is to find a blue-haired girl and get her pregnant within seven days to regain his immortality. He takes over a human body, of a man who has spent 30 years in cyrogenic sleep, to use as a host.
"Compared to a Hollywood team of 600, mine was only 200. Remember high quality computer graphics had to be generated and this required technical expertise. I am thinking of adapting the plot for a theatre production soon," he adds. Bilal’s love for comics stems from the fact that "much can happen between two frames. The story lies between them. As for the characters, I tend to use abstract and realistic forms as and when required."
His eye for details, design and visually stunning places is breathtaking. If you are wondering what comes after Immortel, you have to wait, for Bilal’s next plot is still in the head and will take time to take shape on paper.
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