OvO

The film existed only in Jacque’s memory because all that remained were the two cardboard thief characters. Jacques called upon his memories to recreate the decor and the characters with a decorator. The operator then filmed frame by frame to reconstruct the film.

When Agnès Varda was preparing the film Jacquot de Nantes in 1990, she was able to shoot in the small apartment where Jacques was raised. While emptying the attic, Agnès found pieces of 9.5 mm film, dry and folded, almost broken and two small cardboard figures. The film was impossible to project and the film had to be remade. Showing the pieces of film to Jacques he immediately identified La Ballerine. A student from the Fine Arts School of Nantes therefore redrew each shot, frame by frame, on blank 16 mm film.

The first short made by Robert Morgan, made using a VHS camera and some rough puppetry.

Mancha de una vida

Join Eric and Lyn, a pair of armchairs who discuss the politics around Britain today. As this country is going through a real shift at the moment –what better time is there to record the thoughts of two elderly British people, to highlight this, than now?

A documentary on the work of experimental British animator David Anderson.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

Mankind can no longer reproduce because of gene manipulation aimed at making life longer. The clones ruling the bottomless underworld may have become fertile. Parton is selected to go on a mission through a subterranean labyrinth crawling with monsters to secure humanity's future.

Elétrico Magnético

A female puppet appears locked in a room, lying on the floor and immobile. Through various experiences, strings begin to attach to her body, and her movements gradually become more fluid. Each string is associated with a scene related to an aspect of women's social issues, such as the body, equality, or gender.

After the death of his friend Begbie, Palomar decides to go to the City, a bizarre and intimidating metropolis, whose citizens have abolished sleeping and the law of gravity. To get there, the man waits for a bus that never comes, falling into a restless and suffocating wait.

American cartoons are the starting point for Martin Arnold's new work. Sequences of short films form the basis of a process of fragmentation, deconstruction, dismantling and repetition. Arnold uses fun, family entertainment to create films with open-ended possibilities for association. His pieces, such as Hydra (2013), Charon (2013), Nix (2013) and Self Control (2011), feature characters whose anatomy is no longer recognizable as such, but rather resemble puppets, remotely controlled from the outside. Trembling hands, dancing tongues, blinking eyes and snoring mouths move like ghosts against an abyss-like deep black background, in which bodily elements constantly disappear, only to reappear once more.

A short behind the scenes documentary showing the creation of the short claymation film The Genie in a Ravioli Can (Le génie de la boîte de raviolis).

A doll and her plush friend ponders what it means to have a heart.

A print shop owner with seasonal depression becomes obsessed with copying the life of his new customer, an extravagant jungle explorer, based on his film photographs

A detective is eaten alive by a house.

Set in a world not unlike mid-20th century America, The Vandal centers on Harold, whose tormented search for peace from traumatic loss results in an unexpectedly destructive awakening after he undergoes a lobotomy. When the procedure “turns his mind inside out” and his great love is suddenly gone, Harold’s desperate search intensifies.

An inspirational speaker becomes reinvigorated after meeting a lively woman who shakes up his mundane existence.

An old phonograph assembles itself, plays songs on wax drums before self destructing. In many ways The Phonograph is a companion piece to Renaissance, there is nevertheless something quietly affecting about Borowczyk’s final ‘object’ animation.