2019 Special Screenings
OIAF 2018
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More screenings TBA!

The Tales of Lizzy Hobbs
OIAF 2019
Elizabeth Hobbs is one of the most imaginative, energetic and perhaps underappreciated indie animators around today. Hobb’s films (including The Emperor, The Old, Old, Very Old Man, The True Story of Sawney Beane, G-Aaah and I’m OK) are notable for the unusual techniques that range from ink on bathroom tile, typewriters, watercolour on paper, butterfly prints, and rubber stamps. If there is a constant throughout her work, it’s the playful proclivity for unusual - yet true - periods in history that touch on witches, vampires, cannibals, Napoleon’s penis and a really, really, really, old guy. The blurred, hurried, transient feel of her films aptly reflects the mysterious haziness of her quirky historical subjects; as though we’re squinting at faint memories struggling to take shape, find form and become, before vanishing as rapidly as they appeared. (Chris Robinson)

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Elizabeth Hobbs est l’une des animatrices indépendantes les plus imaginatives, énergiques et peut-être aussi mal appréciées de ce jour. Ses films, dont The Emperor, The Old, Old, Very Old Man, The True Story of Sawney Beane, G-Aaah et I’m OK, sont connus pour leurs techniques inhabituelles qui passent de l’encre sur des tuiles de salle de bain, l’emploi de dactylos, la peinture à l’eau sur du papier, des motifs de papillons, et des étampes de caoutchouc. Si ses œuvres ont quelque chose en commun, c’est une prédisposition joviale vers des périodes de l’histoire étranges – mais bien vraies - qui concernent les sorcières, les vampires, les cannibales, le pénis de Napoléon, et un monsieur vraiment, vraiment, vraiment vieux. L’impression embrouillée, pressée et éphémère que projettent ses films reflète habilement l’aura mystérieuse de ses sujets historiques un peu marginaux; comme si nous nous efforcions de voir des souvenirs en oubli qui tentent de prendre forme, de se retrouver et d’exister, avant de s’effacer aussi vite qu’ils étaient apparus. (Chris Robinson) 
Screening list:

The Last Regret of the Grim Reaper | 1999 | 1:25

The Grim Reaper dances everyone to their deaths.

The Emperor | 2001 | 4:16

The tale of a quest to free Napoleon Bonaparte from exile on the island of St Helena, including fresh insight into the mystery of The Emperor's pickled private parts.

The Witches | 2002 | 6:30

In 1590, the reigning monarch King James VI of Scotland was in danger of being toppled from his throne; due to the blight of witchcraft. In North Berwick, three fishwives – Margaret, Ina and Sandra – have good reason to believe that they might be targets of the King’s witch hunt and so set about devising a plan to save themselves from the fearful witch-dooking apparatus.

The True Story of Sawney Beane | 2005 | 10:38

In 16th-century Scotland, young Sawney Beane yearns to itch and scratch and buccaneer. So he bids farewell to his parents and their life of honest toil. Forty years on, Mr. Beane croaks his dying wish to Betty, his wife. “Go and find our lost son.” And so Betty strikes off on her quest across the land, with the family savings in a hankie and a secret suspicion in her heart.

The Old, Old, Very Old Man | 2007 | 6:48

152-year-old Thomas Parr is taken to meet King Charles I, who orders a celebration of his longevity.

Little Skipper | 2010 | 1:02

Butterfly prints of butterflies, animated.

Tricky Women Festival Trailer | 2010 | 0:32

Imperial Provisor Frombald | 2013 | 4:07

The true story of Imperial Provisor Frombald, a very composed and efficient administrator who is asked to travel deep into the Serbian countryside to resolve a spot of eighteenth century vampire hysteria that leaves him feeling nothing less than a little hysterical himself.

G-AAAH | 2016 | 1:23

Amy Johnson worked as a typist for a firm of solicitors before her record-breaking solo flight from London to Australia in 1930.  This film has been created as a celebration of her journey using an Underwood 315 typewriter.

I’m OK | 2018 | 6:04

Following the end of a stormy love affair, Expressionist artist, Oskar Kokoschka, enlists in the First World War. During battle he suffers serious wounds.  As medics transport the injured Kokoschka, he experiences a series of memories and visions. Playful and imaginative, I'm OK explores the wounds of heartbreak and trauma.

The Flounder | 2019 | 7:00

An adaptation of The Fisherman and his Wife, an 18th century fable about greed, by the Brothers Grimm.
Love is Stronger Than Witchcraft - The Films of Lei Lei
OIAF 2019
Whether it’s a planet being invaded by aliens (Pear or Alien), a delayed mahjong game during an apocalypse, a city of regimented rubric’s cube heads and ping pong players (Magic Cube and Ping-Pong), anonymous tourist photos (Recycled), his father’s old book designs (Books on Books) or a city where everyone has big hands (Big hands oh big hands, let it be bigger and bigger), Chinese animator, artist and musician, Lei Lei, creates (or recreates in Recycled and Hand Coloured #2) environments that often fuse magic realism, science-fiction, comic books and video games into visually delicious, handmade, candy coloured worlds that are naïve, hopeful, nostalgic and occasionally silly in the belief that love can liberate us all. Throughout his work, Lei Lei lovingly celebrates the marginalized, misunderstood and forgotten, resuscitating them with a new air of hope, purpose and humanity. (Chris Robinson)

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Qu’il s’agisse de l’invasion d’une planète par des extraterrestres (Pear or Alien), d’une partie de Mahjong mise de côté pendant une apocalypse (Missing One Player), d’une ville de têtes de cubes Rubik régimentées et de joueurs de ping-pong (Magic Cube and Ping Pong), de photos anonymes de touristes (Recycled), des vieux motifs de livres de son père (Books on Books) ou d’une ville où tout le monde a de grandes mains (Big hands oh big hands, let it be bigger and bigger), l’animateur, artiste et musicien chinois, Lei Lei, crée (ou recrée, dans Recycled et Hand Coloured #2) des environnements qui fusionnent souvent le réalisme magique, la science-fiction, les bandes-dessinées et les jeux vidéos, en mondes faits à la mains, des délices visuels naïfs couleur bonbon, pleins d’espérance, nostalgiques, et parfois absurdes dans l’espérance que l’amour peut nous libérer tous. Au long de son œuvre, Lei Lei célèbre avec affection les marginalisés, les mal compris, les oubliés, et leur insuffle une nouvelle vie d’un air d’espoir, de raison d’être, et d’humanité. (Chris Robinson)

Screening list:

Pear or Alien | 2008 | 4:08

A happy planet of pear people is invaded by some mean reverse pear head aliens. A film about peace, tolerance and forgiveness. Drawn with pens on exercise books.

The Universe Cotton | 2009 | 4:38

The story is a narration of a pseudoscience on cotton plantation. The protagonist waters the cotton with music and love, resulting in the greatest harvest that sky is the only way for the cotton to go. Landing from sky, the cotton turns from cloud into candies in kiddy’s hand.

Magic Cube and Ping-Pong | 2009 | 4:08

Love – and ping pong - can be liberating in a world of sameness.

Hu Lulu Hong Longlong Hua Lala | 2010 | 5:38

One day, a heavy rain floods a small, peaceful village. A brave child swims to the universe to save the day.

This is Love | 2010 | 2:38

After a long flight, a young man is greeted lovingly by his girlfriend. As they embrace, the man spots a hole in the woman’s sock. Can their love survive this?

My...MY... | 2011 | 4:38

A guy suddenly finds himself naked. Where are his clothes!?

Big hands oh big hands, let it be bigger and bigger | 2012 | 6:00

In a city where all the people have big hands, one lonely child has tiny ones. He also has a head filled with odd thoughts, which he constantly talks about with unwelcoming people. His only friend is a wall.

(The film is a project of “Think+ 2012, Shanghai”)

Animafest Zagreb | 2014 | 0:45

Commissioned festival trailer for the 2014 Animafest Zagreb

This is not a Time to Lie | 2013 | 3:30

I’m scared, I don’t dare look ahead

This isn’t a time to lie

(Mountains and water, characters and objects in the film are all made with old book cover)

Missing One Player | 2015 | 4:20

During a mahjong game, a bad situation occurs.  Everyone waits for the last player to show up.  The three have no choice but to wait and sit there silently in tears.  

However, they do believe that the fourth player will come.  They look up to the sky waiting for this miracle to happen.

HAFF Leader | 2016 | 0:55

Commissioned trailer for the 2016 Holland Animation Film Festival.

Recycled | 2013 | 5:40 (with Thomas Sauvin)

The following images come from negatives salvaged from a recycling plant on the edge of Beijing, where they had been sent to be filtered for their silver nitrate content. Over the years French collector Thomas Sauvin built this archive of more than half a million 35mm negatives, depicting the capital and the life of her inhabitants over the last thirty years.

From 2011 to 2013, Chinese artist Lei Lei selected over 3000 photos to create the animation you are about to see, an almost epic portrait of anonymous humanity.

Books on Books | 2016 | 7:14

The cutout patterns are from my father’s book ”Book cover collection in the West“, which was published in 1988, when China's leaders launched their great Reform and Opening-up to embrace the world.

Many leading concepts of book cover design were introduced in the book and this book had an eye-opening influence on the younger generation of Chinese designers since then.

Hand Coloured #2 | 2017 | 4:52 (with Thomas Sauvin)

In 2013, Lei Lei and Thomas Sauvin collected a number of black-and-white photos from Chinese flea markets and imagined that all of them belonged to one fictional Chinese person. Through rendering, collage, and a cyclical process of hand-colouring, scanning, and printing, the artists created connections among the photos.

I Don't Like the Comics you Drew | 2017 | 3:34

Dave draws the first page of his comic book and excitedly shows it to his friend Lei Lei.

Lei Lei is not impressed.
The Mischievous Musings of Piotr Bosacki
OIAF 2019
Animating an assortment of everyday objects and modest drawings, the films of Polish animator/artist/musician/writer, Piotr Bosacki (e.g. Shekhinah, Dracula, To Love Life, Utter Rubbish) are a mix of physics lectures, intimate audio diaries, and the basement rants of some Dostoevsky mad man. Bosacki’s works explore the complexities and inconsistencies of universal systems and structures, all while seeming to champion the inevitable fucked-up-ness of it all. These minimalist and mischievous musings of existence will leave you frustrated, frightened and confused yet somehow mesmerized, intrigued and as giddy as a dog running manically on a spring day at the park. (Chris Robinson)

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Des objets de tous genres animés et des dessins modestes : les films de l’animateur/artiste/musicien/écrivain polonais, Piotr Bosacki, (p. ex., Shekhinah, Dracula, To Love Life, Utter Rubbish) sont un mélange de notions de physique, d’entrées de journal intime audio et de diatribes de sous-sol d’un Dostoevsky maboule. Les œuvres de Bosacki explorent les complexités et les contradictions des systèmes et structures de l’univers, tout en semblant représenter leur embourbement inévitable. Ces élans épurés et espiègles sur l’existence vous laisseront frustré, effrayé et confus, et en même temps, captivé, intrigué et aussi étourdi qu’un chien qui court comme un fou lors d’un jour de printemps au parc. (Chris Robinson)

Screening List:

Shekhinah (Szechina) | 2010 | 11:11

A sniffling, deadpan narrator recounts a dream about a glowing woman, some angels, a rabbi, a minister of culture, and assorted goings-on.

Dracula (Drakula) | 2010 | 10:10

In Dracula, Bosacki develops a story based on the knowledge of physics, chemistry, and biology, intertwined with his personal confessions.

To Love Life
To Love Life (Umiłowanie życia) | 2011 | 12:00

To Love Life is a treatise on the structure of the world and its perception. Extremely intense and genuine experience combined with a profound analysis lead to conclusions that allow the development of a universal model of reality.

Utter Rubbish
Utter Rubbish (Kompletne bzdury) | 2011 | 7:00

Money, parasites, bowels and the Chopin piano competition come together in this burlesque comedy.

Self-Evident Things
Self-Evident Things (Rzeczy oczywiste) | 2013 | 10:00

A film that uses living objects to ponder the human condition, constructing animated visual metaphors for the machines and systems of the body, nature, and our society.

With the Artist's Kind Permission
With the Artist’s Kind Permission (Dzięki uprzejmości artysty) | 2016 | 10:10

Bosacki explores how a work of art comes into existence, examining the unconventional relations between image and text through elaborate classical animation.

Die Kunst der Animation
The Art of Animation: cycle of 6 films (Die Kunst der Animation: cykl 6 filmów) | 2016 | Silent | 10:30
Animation Takes a Drive
OIAF 2019
It was to be the great liberator of time and space. It would bring us together, improve our connections, make the world smaller. No no no... not the internet... the automobile (though feel free to draw parallels). The promised convenience of the car has come with a hefty price.  Intended to serve us, the car has instead dominated, altered and distracted our personalities, environment, geography and lives. This screening, which covers a long stretch of animation history and features classic cartoons (The New Car, Magic Highway, Motor Mania) along with an assortment of old and new shorts (including some rarities like Peter Foldes’ Faster, Elbert Tuganov’s Drivers) from around the globe, takes a lighthearted look at the questionable impact that cars have on our daily lives. (Chris Robinson)

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Ça devait être le grand libérateur du temps et de l’espace. Ça devait nous rapprocher, améliorer nos liens, rendre le monde plus petit. Non, non, pas l’Internet — l’automobile (mais soyez à l’aise de faire le parallèle). Cette commodité promise de la voiture s’est avérée très coûteuse. Conçue pour nous servir, la voiture nous a plutôt dominés. Elle a changé et distrait notre personnalité, notre environnement, notre géographie et notre vie. Cette projection, qui couvre une grande part de l’histoire de l’animation et qui met en vedette des dessins animés classiques (The New Car, Magic Highway, Motor Mania) ainsi qu’une sélection de vieux et de nouveaux courts-métrages (dont quelques raretés, comme Faster, de Peter Foldes, et Drivers, d’Elbert Tuganov) provenant de partout au monde, jette un regard léger sur l’incidence discutable des voitures sur notre vie quotidienne. (Chris Robinson)

Screening List:

Magic Highway
Magic Highway | Ward Kimball | 1958 | USA | 8:48

A totally fictional and not even close to realistic film from the folks at Walt Disney about how cities and landscapes will change to accommodate the automobile. Self-Driving cars! Impossible!

The New Car
The New Car | U.B. Iwerks | 1931 | USA | 7:26

“Frog buys sexualized car from stage evil Jew, goes drag racing and has horrible accident, uses car to attempt to screw a cat, gets car drunk, kills a goat, steals a train. Hilarity ensues.” -T.C. Bramblett 

Motor Mania
Motor Mania | Jack Kinney | 1950 | USA | 7:00

An easy going guy turns into a raging lunatic when he gets behind the wheel of a car.

OIAF19 Owl
Autókór | László Réber & István Imre | 1964 | Hungary | 9:39

Tired of the daily commute, a man believes the car will be the solution to all his problems. It’s entirely possible that he’s wrong.

Automania 2000
Automania 2000 | John Halas | 1963 | UK | 10:00

In the race to produce bigger and better cars we see how humanity adapts to life in a grid-locked world.

OIAF19 Owl
Drivers | Elbert Tuganov | 1972 | Estonia | 7:00

If we are not careful, one day the cars will take over all existence on Earth.

Plus vite (Faster) | Peter Foldes | 1965 | France | 7:57

Faster! Faster! Faster! We must get there FASTER. Where though?

Nighthawk | Špela Čadež | 2016 | Slovenia/Croatia | 8:56

If we didn’t have cars, we wouldn’t have drunk drivers, badgers included.

Car Crash Opera
Car Crash Opera | Skip Battaglia | 2012 | USA | 7:55

A tragic/comic opera about a tragic/comic fatal multi-car crash. The results are smashing.

Yield | Caleb Wood | 2014 | USA | 1:41

We don’t just kill each other with cars, we’ve also killed a few animals along the way to wherever it is we’re going with such urgency.
The Liquid Visions of Kathy Rose
Kathy Rose is equal parts animator and dancer, known for her uncanny choreographies, both on and off-screen. Through her animations and performances, Rose shows us what it is to disembody the body and go supernatural and impossible instead. Her works occupy the spaces of afterlives and underworlds, haunted by secretive spirits who hide behind masks and engage in minimalist rituals. She shows us what it might look like to draw the self-as-other, make fluid the line between the self and other, and freely enter into bold, rhythmic mirror-worlds. Rose’s oeuvre dates back to the 1970s, and incorporates her animation training from Cal Arts as well as decades of research and mentorship in Japanese performance traditions. This program presents her early psychedelic hand-drawn cartoons, documentation of her celebrated expressionistic performances, recent digital collage animations, and a live performance of Opera of the Interior, supplemented by conversation with the artist. (Emily Pelstring)

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Kathy Rose est à parts égales animatrice et danseuse, reconnue pour ses chorégraphies incroyables, tant à l’écran que sur la scène. À travers ses animations et ses représentations, Rose nous montre ce que c’est que de sortir du corps et de faire place au surnaturel et à l’impossible. Ses œuvres sont logées dans l’espace de l’au-delà et des mondes souterrains, hantées par des esprits en catimini qui se cachent derrière des masques et prennent part à des rituels minimalistes. Elle nous montre ce que ce serait peut-être que de dessiner le soi comme l’autre, rendre fluide la ligne entre le soi et l’autre, et entrer librement dans des mondes miroirs rythmiques et audacieux. L’œuvre de Rose date aussi loin que des années 70, et incorpore sa formation en animation de Cal Arts ainsi que des décennies de recherche et de mentorat en traditions japonaises de l’art de la représentation. Ce programme présente ses premiers dessins animés à la main psychédéliques, de la documentation de ses représentations expressionnistes célébrées, des animations numériques par collage récentes, et une représentation en direct de Opera of the Interior, agrémenté d’une conversation avec l’artiste. (Emily Pelstring)

Screening List:

Opera of the Interior
Opera of the Interior | Performance | 20:00

As the eye awakens and brings forth consciousness, prepare to enter the world of the interior.

Movers | Animation | 1972 | 2:31

Kathy Rose's first animated film, an expression of human motion as absurdist as it is surreal.

Mirror People
Mirror People | Animation | 1974 | 4:16

Reflections within a mirror take on lives of their own, shifting and contorting their forms in all manner of ways. To achieve its distinctively strange aesthetic, the entire film was drawn upside-down and lit from underneath rather than above.

Primitive Movers
Primitive Movers | Performance documentation excerpt | 1983 | 4:11

Rose's first fusion of animation with live dance, which she has performed extensively around the world.

Queen of the Fluids
Queen of the Fluids | Performance documentation | 2003 | 2:28

As the rain falls backwards, a golden queen rises up. As the gold drips out of her body, we enter her mind into a metaphysical kingdom.

She | Video | 2009 | 4:24

An insectoid fantasy with an indio/arachnid soundtrack by C.P. Roth. The film reflects Rose's fascination with butoh dance theatre.

Cubistemenco | Video | 2014 | 5:01

A dance where the stylized personae impart a world of pattern and rhythm. Rose originally used the film's music for a live dance that combined flamenco with a Japanese sensibility.

Reverie of the Puppets
Reverie of the Puppets | Video | 2018 | 5:15

In this film, the viewer is taken to a beautiful landscape of tress that gradually becomes more psychedelic and dreamlike. At the end the dreamers dream, and the sleepers sleep.

Beings of the Second Sphere
Beings of the 2nd Sphere | Video | 2019 | 5:56

As the masks fall, our true faces are revealed in this film's nocturnal universe of drawings where the loons cry and the fireflies bespeckle the sky.
It Happened in France - A selection of French animation from 1894 to 2018
OIAF 2019
CO-PRESENTED BY: CNC - Le centre national du cinéma et du l'image animée

This visual dictionary of animated films made in France is for neophytes and specialists: great classics, rare films, or unpublished ones compose this session covering almost 125 years of "French production".

Films with various techniques, ranging from Émile Reynaud's Optical Theater to the well-honed celluloid by Paul Grimault, through Alexeïeff-Parker's pinscreen, Kamler's experimental etching and stop motion by Borowzyck or Julien Pappé.

These sometimes singular works highlight the audacity and inventiveness of directors, sometimes immigrants, who decided one day, to adopt France as a country of artistic creation. (Jean-Baptiste Garnero)

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Dictionnaire visuel du cinéma d'animation réalisé en France à l'usage des néophytes et des spécialistes : grands classiques, films rares, ou inédits composent cette séance couvrant 125 ans de "production à la française".

Films aux techniques variés, allant du Théâtre optique d'Émile Reynaud jusqu'au celluloîd si bien mis à l'honneur par Paul Grimault, en passant par l'écran d'épingles d'Alexeïeff-Parker, la gravure experimentale de Kamler et la stop motion de Borowzyck ou de Julien Pappé.

Ces oeuvres parfois singulières, soulignent l'audace et l'inventivité de réalisateurs, parfois immigrés, qui ont décidé d'adopter un jour la France comme pays de création artistique. (Jean-Baptiste Garnero)

Screening List:

autour d'une cabine Around a Cab | Émile Reynaud | 1894 | restored by Julien Pappé (1986) | 5 min.
(1894/2019) This year marks the 125th anniversary of this short, which, along with the rest of Reynaud's Pantomimes Lumineuses, was inscribed in UNESCO's Memory of the World Register in 2015 with the support of the Centre national de la cinématographie (CNC).
On a beach, a voyeur gets more than he bargained for while stubbornly trying to watch a Parisian woman undress. For his troubles he earns a well-placed kick from her husband, a fully-clothed tumble into the sea, and a frantic escape, with a dog at his heels.

Autour d’une cabine, Emile Reynaud (1894), restauration de Julien Pappé (1986) - 5 min.
(1894/2019) 125ème anniversaire de cette pantomime dont les spectacles de pantomimes lumineuses ont été classés à l’UNESCO en 2015 avec le soutien du CNC.
Sur une plage, les mésaventures d'un homme un peu trop voyeur, entêté à toujours vouloir épier le déshabillage d'une parisienne. Ce qui lui vaudra un coup de pied bien placé du mari, une chute tout habillé à la mer et une fuite éperdue, le chien de la parisienne à ses trousses.

les hommes machines The Machine-Men | René Laloux | 1978 - Never Released | restored in 2018 | 7 min.
A prototype for the film Gandahar (1988), made by René Laloux and his team at an animation studio in Angers, France. The inhabitants of Gandahar live a peaceful, carefree life, unaware of the imminent danger that threatens them.

Les Hommes-machines, René Laloux (1978 - Inédit), restauration 2018 – 7 min.
Pilote du film Gandahar (1988) réalisé par René Laloux et ses équipes aux studios d’animation à Angers. Découverte de la planète Gandahar et de la vie paisible de ses habitants, insouciants du danger qui les menacent.

un nuit sur le mont chauve Night on Bald Mountain | Alexandre Alexeïeff, Claire Parker | 1933 | restored in 2016 | 8 min.
As darkness falls around Bald Mountain, on its peak, the witches' Sabbath begins. What follows is a night of the surreal and the phantasmagoric, as the lands below the mountain are bombarded by stormy weather and all manner of grotesque creatures and eerie sights. Will dawn ever come and bring an end to the horror? The first film made using pinscreen animation.

Une nuit sur le Mont Chauve, Alexandre Alexeïeff, Claire Parker (1933), restauration 2016 – 8 min.
Les magiciennes et les enchanteurs tenaient autrefois le sabbat sur le mont Chauve, près de Kiev, en Russie. Aussitôt, les épouvantails s’animent : ils se coiffent de chapeaux hauts de forme et défripent au vent leurs tenues de soirées. Les sorcières jouent avec leurs ombres dans les cirques de la nuit où des oiseaux fantastiques se dédoublent, où des nécromants invisibles marquent le sol de leurs pas, où galope un cheval aussi fou que le coursier de Metzengerstein. Voici les moulins hantés par les monstres des ténèbres, les voyageuses du diable qui se métamorphosent dans les airs, les dames blanches qui se lèvent ponctuellement à minuit. Voilà maintenant des hobereaux cruels semblables à ce Jean de Dratt qui se déguisait en ours afin de surprendre ses victimes ; des enfants perdus comme celui qui cherchait désespérément au fond d’un lac une étoile filante. C’est alors que les échos des matines dissipent les sortilèges et que l’aube découvre une terre étrangère aux désastres de la nuit.

le chien The Dog | Pierre-Luc Granjon | 2018 | 2 min.
A boy goes for a walk with the neighbour's dog. They spend part of the day wandering together in nature before heading back home. Made during a research and development residency organized by the CNC, and animated using Alexandre Alexeïeff and Claire Parker's pinscreen.

Le Chien : animation sur l’écran d’épingles Alexeïeff-Parker du CNC - Pierre-Luc Granjon (2018) – 2 min.
Un enfant décide d’aller promener le chien du voisin. Ils passent une partie de la journée ensemble à flâner dans la nature puis, en fin de journée le jeune garçon ramène l’animal à son propriétaire.

le labyrinthe Labyrinth | Piotr Kamler | 1970 | 12 min.
A man wanders through a shifting landscape of disturbing silhouettes and shapes. An endless journey that evokes the sometimes nightmarish feeling of being trapped in one's own mind.

Le labyrinthe, Piotr Kamler (1970) – 12 min.
Un homme en combinaison, se déplace en surimpression dans un décor abstrait et inquiétant de formes et de couleurs. Il erre dans des perspectives sans fin où résonnent ses pas. Sur les murs palpitent des formes noires. Soudain, l’homme se met à courir, il fuit une horde d’oiseaux noirs qui l’assaillent. Sur son visage apparaissent d’autres visages car ce labyrinthe est celui de tous les hommes.

chiffres Numbers | Jeannine & Christianne Clerfeuille | 1966 | 1 min.

Chiffres (Publicité), Jeannine & Christianne Clerfeuille (1966) – 1 min.

Airborne: Sieges Airborne: Seats | Etienne Raik | 1970 | 1 min.

Airborne : Sièges (Publicité), Etienne Raik (1970) – 1 min.

Le voleur de paratonnerres The Man Who Snatches Lightning Conductors | Paul Grimault | 1944 | restored in 2019 | 9 min.
The walls of the city warn: a lightning conductor thief rages on the rooftops of Paris. Seemingly indifferent to danger, the masked thief plays with the two mustachioed policemen who pursue him. Only the lightning can put an end to his exploits.

Le voleur de paratonnerres, Paul Grimault (1944), restauration 2019 – 9 min.
Les murs de la ville avertissent : un voleur de paratonnerres sévit. Sur les toits, les chiens sont de garde. La maréchaussée, consciente de son rôle, a dépêché deux limiers jumeaux. Le voleur fait main basse sur le paratonnerre que gardait un chiot affectueux. Il détourne l’attention d’un dogue zélé à l’aide d’un os factice animé. Pour se déplacer, il se fait perchiste et funambule. Son jeu de cache-cache dans les cheminées le fait se jouer des policiers. L’orage éclate. Un contrepoids qu’il actionne vient à bout de la force publique mais le voleur est foudroyé.

Nurse's Ghost The Nurse's Ghost | Michel Longuet | 1979 | 4 min.
A patient, a nurse, a whip...But where is the ghost?

Le Fantôme de l’infirmière, Michel Longuet (1979) – 4 min.
Un patient, une infirmière, un fouet…Mais où est le fantôme ?

Chocoreve Chocôrêve : Frrr…! | Etienne Raik | 1969 | 1 min.

Chocôrêve : Frrr…! (Publicité), Etienne Raik (1969) – 1 min.

Renaissance Renaissance | Walerian Borowczyk | 1963 | 9 min.
Mysteriously destroyed objects scattered around a room reassemble themselves, thus returning to the cause of their destruction.

Renaissance, Walerian Borowczyk (1963) – 9 min.
Détruits on ne sait comment, les objets éparpillés dans une pièce se reconstituent seuls, remontant ainsi à la cause de leur destruction.

Necchi: Zig Zag Necchi Sewing Machine: Zig-zag | Bernard Lemoine | 1960 | 1 min.
Everything is easy to do with an automatic Necchi supernova sewing machine.

Necchi : Machine à coudre : Zig-zag (Publicité), Bernard Lemoine (1960) – 1 min.
Tout est facile à faire avec une machine à coudre Necchi supernova automatique.

Spohie et les gammesSophie et les gammes | Julien Pappé | 1964 | 13 min.
Sophie wisely takes her piano lesson. But her teacher doesn't tolerate weakness on the part of her students, nor does she appreciate Sophie's unorthodox approach to the instrument. So the little virtuoso turns into a creature from hell, mischievious and belligerant, trying everything she can to upset and discourage her teacher, who has no way to escape.

Sophie et les gammes, Julien Pappé (1964) – 13 min.
Sophie va sagement prendre sa leçon de piano. Mais son professeur ne tolère aucune faiblesse de la part de ses élèves, et n’apprécie pas à sa juste valeur le jeu non conformiste de sa jeune apprentie. La petite virtuose bien sage, va alors se transformer en une infernale créature, espiègle et contestataire s’efforçant par tous les moyens de décourager et d’énerver son professeur, qui n’en échappera pas.
Eleven Moving Moments with The National Film Board of Canada
2019 is both the 80th Anniversary of the National Film Board and the occasion of its move from its suburban Montreal home of 63 years to the heart of Montreal. So, in celebration of both events, the OIAF presents Eleven Moving Moments with The National Film Board of Canada compiled by Donald McWilliams. Not the “greatest hits”, but rather two programmes which exemplify the multi-cultural nature of the NFB and Canada; and the belief of John Grierson, Norman McLaren and René Jodoin – that at the NFB one can be both a public servant and an artist.

* * *

2019 représente à la fois le 80e anniversaire de l’Office national du film du Canada et l’occasion de son déménagement de son foyer en banlieue de Montréal, qu’il occupa pendant 63 ans, au cœur de Montréal. C’est donc en célébration de ces deux événements que le FIAO présente Onze moments émouvants de l’Office national du film du Canada, une compilation de Donald McWilliams. Il ne s’agit pas des « numéros un », mais plutôt de deux programmes qui illustrent la nature multiculturelle de l’ONF et du Canada; et la croyance tenue par John Grierson, Norman McLaren et René Jodoin — qu’à l’ONF, on peut être à la fois fonctionnaire et artiste.

Screening List:

Volume 1:

Canada Vignette: Countdown | Veronika Soul | 1981 | 0:50

This one minute vignette illustrates the variety of people, professions, and technical procedures required by the filmmaking process.

Tower Bawher
Tower Bawher | Theodore Ushev | 2005 | 3:35

Like a whirlwind tour of Russian constructivist art, Ushev’s short is full of visual references to artists of the era, including Vertov, Stenberg, Rodchenko, Lissitsky and Popova.

Animando (excerpt) | Marcos Magalhāes | 1987 | 1:09

An animated figure is brought to life on the drawing board. Using different materials and techniques, he walks, jumps and interacts with his surroundings.

Why Me?
Why Me? | Janet Perlman, Derek Lamb | 1978 | 9:11

After his doctor informs him he will soon die, Nesbitt Spoon runs the gamut of emotions commonly experienced by people trying to deal with this devastating yet universal situation.

Ballad of Crowfoot
The Ballad of Crowfoot | Willie Dunn | 1968 | 10:13

The first Indigenous-directed film made at the NFB, and often referred to as Canada’s first music video. Directed by Willie Dunn, a Mi’kmaq/Scottish folk singer and activist who was part of the historic Indian Film Crew, the first all-Indigenous production unit at the NFB. A powerful look at colonial betrayals, told through a striking montage of archival images and a ballad composed by Dunn himself.

Tragic Story with a Happy Ending
Tragic Story with Happy Ending | Regina Pessoa | 2005 | 7:16

A little girl finds acceptance in embracing her own difference. Through images evoking the rich texture of a woodblock print, the filmmaker has created a world of contrasts complemented by a lively soundtrack with a rhythmic beat.

Where There’s Smoke
Where There’s Smoke (excerpt) | Multiple directors | 1970 | 0:59

A compilation of satirical clips that demonstrate both the dangers and unexpected consequences of smoking.

cNote | Chris Hinton | 2004 | 6:47

Leaping back and forth between picture and sound, the dynamic movement of Hinton's visual art dances in syncopation with the bold musical strokes of an original modern classical composition. Without words.

Prologue How Wings are Attached to Angels
Prologue How Wings are Attached to Angels | Donald McWilliams | 1996 | 3:02

How Wings Are Attached to the Backs of Angels
How Wings Are Attached to the Backs of Angels | Craig Welch | 1996 | 10:54

The main protagonist of this short, surreal film is a man obsessed with control. In an automated world drained of all emotion, he is tortured by vague longings. Will he be able to transcend his obsessions and fears?

Three Thousand
Three Thousand | Asinnajaq | 2017 | 13:51

In this short film, Inuk artist Asinnajaq plunges us into a sublime imaginary universe—14 minutes of luminescent, archive-inspired cinema that recast the present, past and future of her people in a radiant new light.

Volume 2:

Canada Vignette: Countdown | Veronika Soul | 1981 | 0:50

This one minute vignette illustrates the variety of people, professions, and technical procedures required by the filmmaking process.

Hot Stuff
Hot Stuff | Zlatko Grgic | 1971 | 9:10

When the gods gave fire to man, they warned him about the destruction it can cause when not used carefully. Fast-forward to the modern day, where man will face the consequences for forgetting the gods' warning.

Universe (excerpt) | Roman Kroitor & Colin Low | 1960 | 3:58

An animated journey to the farthest regions of space, beyond our own galaxy and into the unknown. This awe-inspiring voyage of the universe was realistic enough to be used by Stanley Kubrick as one of his sources for 2001: A Space Odyssey.

Animando (excerpt) | Marcos Magalhães | 1987 | 1:51

An animated figure is brought to life on the drawing board. Using different materials and techniques, he walks, jumps, and interacts with his surroundings.

A Feather Tale
A Feather Tale | Michèle Cournoyer | 1994 | 5:12

Cournoyer's first film with the NFB, A Feather Tale explores the repercussions on both sides of a relationship when a woman succumbs to her lover's demeaning fantasies.

Dimanche (Sunday) | Patrick Doyon | 2011 | 9:42

A magical tale about life as seen through the eyes of a child on a particular grey Sunday.

Where There's Smoke
Where There's Smoke | Multiple directors | 1970 | 1:20

A compilation of satirical clips that demonstrate both the dangers and the unexpected consequences of smoking.

Minoru: Memory of Exile | Michael Fukushima | 1992 | 18:32

Combining classical animation and archival material, Michael Fukushima recounts the experiences of his father, Minoru, living in Canada in the wake of the bombing at Pearl Harbour. Like thousands of other Japanese Canadians, 9-year-old Minoru and his family were forced into internment camps before eventually being deported to Japan, leaving young Minoru exiled from the land of his birth and the only home he'd ever known.

Here and the Great Elsewhere
Le grand ailleurs et le petit ici (Here and the Great Elsewhere) | Michèle Lemieux | 2012 | 14:16

Four tableaux exploring humanity's eternal quest for meaning, using pinscreen animation as a metaphor for the particles that make up the universe.

Ottawa 90 Bande Annonce
Ottawa 90 Bande Annonce | Jacques Drouin | 1990 | 1:05

One of the six films that made up the trailer preceding every screening at OIAF 1990. Winner of the Award fo best credits, trailer, interlude or animated sequence at Annecy (1991).