Within the world of animation, most experimentation occurs within short-format productions, whether they are high-budgeted commercials, low-budgeted independent shorts or something in between. The growing number of short film festivals around the world attests to the vitality of these works, but there are few other venues for their exhibition, nor are they often reviewed. As a result, distribution tends to be difficult and irregular. On a regular basis, Animation World Magazine will highlight some of the most interesting of these films.

This month's edition of "FFF" focuses on the five finalists for the 2008 Cartoon d'Or award. The winner will be announced during Cartoon Forum in Ludwigsburg, Germany on Thursday, September 18. The prestigious Cartoon d'Or is the only European prize specific to animated short films.

This month:

The Breakout (L'Evasion) (2007), 9:00, directed by Arnaud Demuynck (France). Co-directors: Gilles Cuvelier (France), Gabriel Jacquel (France). Contact: Les Films du Nord, Arnaud Demuynck, 27 avenue Jean Lebas, 59100 Roubaix, France [T] + 33 (0)3 20 11 11 30 / + 33 (0)3 20 11 11 31 [W] www.euroanima.net [E] ademuynck@euroanima.net

John and Karen (2007), 3:30, directed by Matthew Walker (England). Contact: Sarah Cox, Arthur Cox Ltd. [T] +44 (0)1179539788 [F] +44 (0)01179539788 [W] www.worldofarthurcox.com [E] sarah@worldofarthurcox.com

The White Wolf (Le Loup Blanc) (2006), 8:30, directed by Pierre-Luc Granjon (France). Contact: Sacrebleu Productions, 23 rue Bisson 75020 Paris, France [T] +33 1 42 25 30 27 / +33 1 53 75 25 91 [E] contact@sacrebleuprod.com

The Bridge (Le Pont) (2008), 13:00, directed by Vincent Bierrewaerts (Belgium). Contact: Les Films du Nord, Arnaud Demuynck, 27 avenue Jean Lebas, 59100 Roubaix, France [T] + 33 (0)3 20 11 11 30 + 33 (0)3 20 11 11 31 [W] www.euroanima.net [E] ademuynck@euroanima.net

A Mouse's Tale (La Queue de la Souris) (2008), 4:09, directed by Benjamin Renner (France). Contact: La Poudrière, école du film d'animation, 12 rue Jean Bertin, 26000 Valence, France [T] +33 4 75 82 08 08 [F] +33 4 75 82 08 07 [E] contact@poudriere.eu

Stark black-and-white images enhance The Breakout’s bleak yet hopeful exploration of life and death. © Les Films du Nord.

The Breakout (L'Evasion)
Arnaud Demuynck's The Breakout puts the viewer on edge from the outset, with dark foreboding objects quickly darting across the screen as eerie violin music sets the tone. The story becomes darker still when we discover that the protagonist is in prison, and things only get worse from there as his cellmate is tortured to death.

After a period of uncertainty, the prisoner is removed from his cell and marched toward an unknown but assuredly unpleasant fate, so he seizes upon his one, final opportunity for escape and attempts to secure his freedom. He doesn't get far, however, and soon finds himself held at gunpoint in a large, open prison yard, with no possible hope for survival. Rather than admit defeat, the prisoner starts to dance -- slow and ritualistic at first, gradually becoming more free and expressive as the accompanying music becomes more discordant and cacophonous. Although his body has been imprisoned and he has no possibility of survival, his spirit remains unbroken, and cannot be contained.

Demuynck drew inspiration for this film from tales of death and bereavement, and the emotions that accompany them: depression, abandonment, revolt and, ultimately, coming to terms with the fact that life goes on for those left in its wake. The dramatic tension is heightened by his decision to use a stark black-and-white contrast and the shrill, edgy soundtrack. The use of traditional ink-on-paper animation with a simple animation program was clearly the right choice for this subject matter, which is intended to make the viewer uncomfortable and ill at ease.

Decidedly not an action film, John And Karen presents a wry take on domesticity. © Arthur Cox Ltd.

John and Karen
Matthew Walker's one-sentence description of John and Karen sums up his entire film very succinctly and accurately: "John the polar bear apologises to Karen the penguin after an argument."

And that's precisely what happens in this film. John, a large polar bear, arrives at Karen's house to apologize for his boorish behavior at a recent party. Given the vast number of ways in which a polar bear can ruin a social gathering, it's to Walker's credit that John's embarrassment stems from a series of social blunders, as opposed to, say, devouring party guests or mauling the caterers. John sheepishly apologizes for his unwarranted criticism of Karen's swimming prowess and hunting skills, sheepishly admitting to her, "Your fishing skills are excellent." By story's end, John and Karen are back on friendly terms, and the tension between them has been resolved.

This is not an action film by any means. The most exciting sequences, visually, involve John dipping a cookie into his tea, and Karen waddling from one part of the living room to another. But, obviously, action isn't the purpose of this short. It's dialogue-driven: very dry, very sedate, and very British. The humor is incredibly subtle, and when I saw this film earlier this summer, as part of Mike Judge's Animation Show, audiences weren't quite sure what to make of it.

Whether the film produces laughter or not, it's undeniably charming. The character designs are pitch perfect, from the imposing-yet-incredibly-self-conscious John to the petite-yet-clearly- dominant Karen. The animation is uncomplicated, done with Flash, Photoshop and After Effects, and the result is a simple, unassuming and altogether beautiful little story.