War memorial

Domlátil’s short animated film shows the daily rhythms of life at a speed of twelve frames per second. He works with real objects that we use in our regular lives or that we pass by without noticing them. Working with the textures, patterns and symbols he finds on them, he creates a visual continuity.

A dialogue between audio and video reinterprets a scene from the movie The Stranger (1967, dir. Luchino Visconti), in which the condemned debates with a priest about the absurdity of life, death, and the non-existence of God. The debate is abstracted by the skewed image as seen through cut glass and the meanings of their words take on a certain timelessness.

Recent history dies out in the overgrown landscape of a former German military base where children are playing. Through performances by young protagonists and disturbing commentary that suggests that the innocence of the images isn’t what it appears to be, the film reflects on the phenomenon of violence and encourages us to learn from the past.

imperfect media image can make you give in to emotional illusions. The combination of animation and stable shots of the forest ground is accompanied by the author’s comment on the absurdity of the situation presented.

Inspired by the concept of retromania, the filmmaker calls attention to the current trend of recycling older visual styles and artifacts from the last decades of the 20th century. The numerous defects in image quality and the psychedelic soundtrack from homemade cassette recordings were created on purpose when digitalizing the original analogue material.

In a world where wildlife loses its place, there is a need to replace it. The allusion to a trailer advertising the soft green moss ball breaks down the distance between the sterile human habitat and the sea plant popularized as an organic element of any home.

A video essay examining the consumption of information in the virtual environment and its influence on ethics and engagement. The subject wanders through an abandoned office building. Using reality broken down into pixels and the manifestation of text, he highlights the detachment, blindness, and alienation of man moving through social networks.

An animated depiction of the half-waking state before we fall asleep. Various people describe how they see the state between waking and sleeping, while the visual show hypnagogic hallucinations – i.e., the vision that accompany the process of falling asleep. Colours are intertwined with shapes to create abstract landscapes from which every now and then concrete objects emerge.

The video and rap clip confronts contemporary feminism and capitalism. The sober environment of economic forecasts and cash flows is transformed into a psychedelic 3D animation depicting a witch session. The film culminates with the author’s rap that hyperbolically criticizes the power and role of money in today’s society.

Anthony Bird is a war veteran who was the sole survivor of a military operation in his unit. His memories are as surreal as the animation which simulates the course of the incident in the form of a computer game. Everything looks flat but we must trust our own sensees which tell us that in reality, the world isn't flat.

Mona Lisa for robots. A series of moving images created using binary operations in an open source software program called Revolver, which is similar to image synthesizers in which text instructions are transformed into visual data. The soundtrack was created by recycling pixels and converting color values into sound waves.

A metacommentary movie about a movie, in which the director and the cameraman are filming a report about the extinction of butterflies and ecosystem collapse, while in the editing room they polemise about ways to communicate clearly and comment on their dramaturgical decisions, as well as express frustration with the difficulty of reaching a modern audience with more complex communication.