Genres: Animation

  • Lost in the no-zone

    Guillaume’s obsession: prove that angels exist. Guillaume seeks proof, but the world he inhabits escapes definition. He doesn’t know, but he’s lost in the no-zone. A film made entirely from still photographs with animation… Angels, murder, mystery and intrigue… a sensual journey into the real of the fantastic. A fantasy photo novel in film.

  • MM Myth Myth-A Collage

    An animated film exploring the myth of Marilyn Monroe. Amusing and sad. “One of the most remarkable and dedicated amateur filmmakers in the world…” – Movie Maker 10 Best, 1986

  • Mont Real

    “Mont Real” is a satirical view of our western civilization combining aspects of traditional and everyday life in North America. The film deals with our overpowering fantasies and with our enslavement as dependent consumers in a materialistic society. The extremely rapid development of the various visual aspects of the film corresponds with today’s hasty and short-lived deluge of information and stimulation. The film is also meant to counteract the widespread fear of foreign languages and cultures, a fear which seems to be quite common in Canada as well as in many other parts of the world.

  • Mother Marilyn

    This film is animated in the rough collage style that James MacSwain has made his own. Utilizing a series of vignettes, the film traces the story of the child born to Marilyn Monroe and President Kennedy. As the satire unfolds, the story becomes a metaphor for the collapse of the American Empirre due to mysticism and drugs. Also available on DVD on the compilation “James MacSwain Retrospective.”

  • Mouthpiece

    The work of art in the age of genetic reproduction. Based on the practice of lip-reading, this short animated film explores the visual “code” of verbal pronunciation by animating pairs of lips cut out from magazines according to the position of the mouth in pronouncing a sound of spoken language. But, beyond a mere demonstration f lip-sync, this film employs the 24 frames per second cinematic “code” of motion to also explore Alexander Calder’s goal of achieving “a sense of motion on sculpture…where just as one can compose colours, or forms, so one can compose motions.”

  • Musical Chairs, The

    Part live action and part animation, this is the story of an apartment which “comes alive” when the tenants are away. The chairs throw a party which is interrupted by the return of the “humanoid”… with dire results. Originally intended as an unofficial sequel to Norman McLaren’s film “A Chairy Tale.”

  • My Quills Click When I Walk

    The porcupine and the wolf converse in a forest underwood where light literally strobes through the trees. The porcupine delights in the clicks of her quills when she walks. When the wolf attempts to compete, she cleverly works him into a duet and all is well until the two are perturbed by a bee. An animated film which takes a subtle look at sources of aggression.

  • Myth of Sisyphus, The

    In the language of collage, this experimental animation film is a visual interpretation of a story by Albert Camus. It concentrates on that moment when Sisyphus watches his rock fall. “At that subtle moment when man glances backward over his life, Sisyphus returning to his rock, in that slight pivoting, he contemplates that the series of unrelated actions which becomes his fate, created by him, combined under the memory’s eye and soon sealed by his death. Thus, convinced of the wholly human origin of all that is human, a blind man eager to see who knows that the night has…

  • Non-Zymase Pentathlon

    “Non-Zymase Pentathlon” makes use of the commercial imagery of post-war North America, culled from the pages of Life, Maclean’s, National Geographic, and their ilk, animating these pictures in absurd and arbitrary juxtapositions. Animals, people, consumer goods, military equipment, and other detritus float across different planes in an ambiguous film-space. The film is structured into five “events,” preceded by a brief introduction.

  • Atomic Dragons

    A film that examines the disposal of nuclear reactive waste in a story that seems both fantastic and, yet, all too real. The filmmaker exploits the animation genre to its fullest, using cut-out, live-action and photographic techniques to illustrate his satiric fable.