The Bear's Christmas 1974

This short cartoon tells the story of a bear who didn’t believe in Christmas. His main problem with this most magical of holidays? Too many Santas. How would he ever recognize the real one? Alone, out of a job, he goes to drown his sorrows, but back in his lonely room, for all his doubts, the Christmas spirit makes a surprise call.


The Story of Mouseland was a story first told by Clarence Gillis, and later and most famously by Tommy Douglas, leader of the Saskatchewan Co-operative Commonwealth Federation that became the New Democratic Party of Canada, both social democratic parties. It was a political fable expressing the CCF's view that the Canadian political system was flawed in offering voters a false dilemma: the choice of two parties, neither of which represented their interests.

A Leap in the Deep 1971

After a big toad takes over Toro and Pancho's pond, they decided to move to an even bigger pond. However, they have to dodge Crazylegs Crane and a big fish, who both has an appetite for frogs.

L'oiseau 1977

A single bird in flight is transformed, enhanced and interpreted so as to present a unique visual experience. From its original inception in a 128 frame black-and-white sequence it evolves by programmed reflection, inversion, magnification, color transformation and time distortion into the final restructured film as art.

Meta Meta 1978

“Images of the life force welling up. This is a film which depicts the visual dreams I had when I was only 12 years old. I made this film in the same way that I paint.”

Kubis 1978

An experimental short of simple but stimulating visuals, accompanied by a rousing Philip Glass soundtrack.

Metamorphic 1991

It is well known that the disposition of the images drawn by Escher are neither for animation nor for pre-animation; actually, quite the opposite. His images appear to be the carrying out of metamorphic dissolves. A bird gives way to the recognition of a house, which turns into fish, which turns into birds, and so on. Not a single flapping of wings takes place; everything is reiterated and fixed, becoming immersed in and re-emerging from a static continuum. All of Escher is an homage to one of the major animating forces of the cinema: the cross-dissolve. Precisely there, I found cinematic attitudes: in the house which turns into fish and in everything that transforms into something else. I gradually managed to figure out various types of non-existent sequences and then finally found myself dissolved, crossing over metamorphically. —P.G.


In Mozambique, there is one word to name the elephant when old, alone, and separated from the herd: Cambaco. In this short, musical animation film where a man-elephant makes his last walk through desolate scenery, a transfigured nature, Cambaco acquires a philosophical character, it becomes a state of mind.