Canis Lupus

A passing landscape projected into a hypnotic pulsating structure explores time perception in relation to motion. The iridescent chain of trunks, branches and leaves zooming past creates counterpoint to the cyclically re-emerging ambient soundscape interspersed with beats by Evitceles, a Bulgarian experimental musician.

A flying saucer floats through the sky in black and white, creating the illusion of alien forces; upon taking a closer look, it’s obvious that it’s just a toy. The filmmaker examines the issue of videos spreading untruthful alarm messages using the same principles, highlighting the fine line between fact and fiction.

A melancholic metaphor depicts transportation links and the logistical construction of a futuristic view of a dark, sterile environment. Fluorescent machines and vehicles that serve man live their own lives until their last moment, when they fall into pieces of the material from which they were constructed.

By combining animated real objects, abstract illustrations, and computer graphics, a collage emerges of seemingly incompatible elements through which the filmmakers show the four basic elements – earth, air, water, and fire – and one place – they search for inspiration and passion in structures, shapes, surfaces, and materials of Švihov Castle.

The experimental film Unknown presents prototypical urban motifs, such as public transport and escalators, transforming them into abstract black and grey fragments using rotoscope animation to the accompaniment of authentic sounds. Using these scenes, the filmmaker is trying to evoke in the viewer the subjective feeling of alienation in the anonymous environment of a city.

Through performances in the post-industrial landscape of the Most Basin, the filmmaker addresses the consequences of exploiting natural resources. Live tableaux, in which symbolic funerals for the devastated landscape - paradoxically full of strange unnatural beauty – are held, are a critical commentary on how we deal with the natural environment.

The filmmaker explores the principles of movement while dreaming, and constructs them outside of the world of dreams by inserting graphic elements into images from the real world and simulating the space of a computer game in the virtual world. As she passes through these fictional worlds, the main character takes on a real as well as animated form.

This experimental film collage makes use of documentary, fiction and animated film techniques. The fading traces of childhood are mixed with the folk culture of the Haná region, all of it shot on 16mm film. The filmmaker thus preserves her chosen motifs, which are slowly but irrevocably disappearing from the present day.

This sound-generated animation gives the audible world an impressive visual form of moving geometric shapes or a starry sky. The Max For Live and Touch Designer visual programming languages turn an original soundtrack into space galaxies where the technical and the human, the earthly and the spiritual, and machines and poetry meet.

In her short, emotional film about life after the loss of a loved one, the author enthrallingly deals with a difficult topic, using techniques of both feature and animated film. Real experiences of the narrators, accompanied by an animated reconstruction of the painful situation, create a mournful insight into the thoughts of three young people untimely exposed to death.

Happines. Sadness. A man. Life. A computer programme generates dozens of password images per second. The cell phone records the outside world into short clips. Their visual collage is accompanied by a voice-over – an interview of the director with a chatbot in an experimental documentary co-created by computer technology.

A mysterious cinematic poem about remembering a long-lost summer afternoon. Disturbing abstract details of natural elements permeate the metaphor of a children's game, passing in a contemplative vision of the spiritual essence of light and darkness, in which opposites eventually dissolve into units of primal matter.