• Tulip


    The story is Thumbelina, told fairly traditionally; the gorgeous felted landscapes and animations really bring it to life, though. The 3 year old I watched the young audiences shorts with loved this one!

  • On Time

    On Time

    I like the model of documentary-experimental-animation as an essay/mashup in which a few brief visual “topics” recur again and again, supported in different ways by the quotes that undergird them. This particular entry is too short to be much more than a proof-of-method; still, the train-rider animations are dynamic and the rest of the film’s explorations of frame rate and rhythmic juxtaposition help elevate them further.

  • The Place

    The Place

    Ably captures the viewer in its surreal mood; the fluid quality of the animation plus very capable sound work really make the environment palpable. I am slightly uncomfortable with a white (Polish) animator making a movie in which brown figures experience impoverishment and lack of food but their suffering all ultimately seems like “a metaphor;” then again, the film does at least take their suffering seriously.

  • My Friend Who Shines in the Night

    My Friend Who Shines in the Night

    A good example of using carefully workshopped “to the book” story beats doesn’t mean your narrative has to be totally rote and predictable, or that it will necessarily feel like a wannabe Pixar short. Neither applies at all to this fun, graphical narrative of ghost/human relations.

  • Ontbinding



    I can’t quite decide if this is an *example* of philosophical juvenilia or a *commentary on* philosophical juvenilia, although I guess it could be both. Either way, I love it regardless; the precisely moving, wonderfully hideous animation and the slapdash, clipped sound effects combine to something more than the whole of their parts; the film feels precise and artistic in the kind of contemporary-art mode in which the “takeaway” is not merely the lesson of the parable but the manner in which it is delivered.

  • Dogs Smell Like the Sea

    Dogs Smell Like the Sea

    Beautiful understated watercolor textures in service of a sweet, simple story.

  • shapes.colours.people. and floatingdown

    shapes.colours.people. and floatingdown

    experimental animation is very good at invoking the emotion of “this is silly,” and it’s nice to just watch a movie that leans into that and tries to be as silly as possible the whole time without narrativizing the emotion.

  • June Night

    June Night

    Joyful, surreal, and radically handcrafted.

  • Affairs of the Art

    Affairs of the Art

    The Joanna Quinn signature style is just so classic, and as technically well-executed here as ever; good pacing, clever shot selection. The humor has aged less well, in two ways; some of the punchlines are simply tacky, but also I think ‘observational’ humor in general, specifically in the sense of recounting goofy or droll events from one’s past, is quite disfavored by the current younger generations. Perhaps that’s always been the case; there’s a reason “Back in my day” is…

  • VO


    For a film about such a loaded, weighty issue, seems perhaps too willing to mostly investigate the semiotics of one particular traffic incident, instead of really looking at the deeper issues behind automated driving and worker exploitation. With that said, I much appreciate its resonance as expanded animation, and the visual explorations here feel novel but not overdetermined.

  • Vidéo noire

    Vidéo noire

    Cool visual explorations of a bright yet dark landscape of, basically, 3D “model showroom” design.

  • Hippocampus



    Luminous, understated, and consistently provoking dynamic, animate visual surprise. Directed with a steady, consistent hand; the two-shot framing pays off, and is reflected in the movie’s other dualities.