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:

A-Z (2007), 3:00, directed by Sally Arthur (U.K.). Contact: Sally Arthur, ArthurCox Ltd; [T] 00 44 (0) 117 953 9788 [W] www.worldofarthurcox.com; [E] info@worldofarthurcox.co.uk

The Gloaming (2007), 3:04, directed by Andy Huang (U.S.). Contact: Andrew Huang [T] 310.918.7688 [E] andrewhu@gmail.com [W] andrwthomashuang.com

KJFG No. 5 (2008), 1:52, directed by Alexei Alexeev (Russia). Contact: Studio Baestarts, Budapest, Szinhaz u. 5-9, H-1014, Hungary; [T] +3613758574 [W] www.studiobaestarts.com [E] info@studiobaestarts.com

Skhizein (2008), 13:05, directed by Jérémy Clapin (France). Contact: Dark Prince/Wendy Griffiths (producer) [T] +33 613 046 280 [E] wendyg@darkprince.fr [W] http://darkprince.fr

The story of A-Z is engaging enough by itself, but the beautiful combination of hand-drawn illustrations, cut-outs and simple Flash animation results in a stunning short film. © Arthur Cox Ltd.

A-Z
"London, 1935. We were all lost. And people stayed at home to avoid getting lost."

Strange as it seems, one of the most populous and popular world cities was one of the most difficult to navigate as recently as the 1930s. There are more than 23,000 streets in London, and the average British citizen relied on blind faith, prayers and kindly neighbors to guide him from Point A to Point B (or Point Z, to be more precise).

Enter "Mrs. P," an eccentric artist with a vision. Each morning, over the course of a year, Phyllis Pearsall set out from her flat and walked through the streets of London -- all of the streets of London -- and carefully documented each one. Several pairs of shoes and notebooks later, she'd accumulated enough information to create the A-Z Map of London, which she sold to publisher W.H. Smith. The book was an instant success, and Mrs. P's guidebook earned her millions of dollars and the adoration of the citizens of London (and its visitors).

Britain's Channel 4 decided that Mrs. P's story would be a great subject for an animated short, so they provided animator Sally Arthur with an Artist-In-Residence (AIR Scheme) grant and set her to work on a three-minute mini-epic. Arthur decided to frame the story by choosing another character, an unnamed neighbor of Pearsall's, to observe her daily rituals and provide Mrs. P with the idea of using shoeboxes to help sort the massive pile of notes, papers and cards she acquired.

Prior to her neighbor's intervention, Mrs. P is nearly as overwhelmed by the chaos of London as everyone else, with a cacophony of jumbled street names and random words and letters surrounding her and invading her home. Once she gets a handle on things, the book comes together rapidly, and soon she's a hero to taxi drivers, tourists, cyclists, and the entire city of London.

The story itself is engaging enough that a dry recitation of Pearsall's accomplishment would still be entertaining, but Arthur's animation, a beautiful combination of hand-drawn illustrations, cut-outs (courtesy of assistant Helene Friren, who animated Mrs. P.) and simple Flash animation results in a stunning short film. The soundtrack consists of inspirational music by a group called The Inkspots, as well as the natural rhythm of Arthur's script, including long, alphabetical lists of street names.

Award-winning actress Emily Watson overcame a bad cold to record the role of Mrs. P., and Arthur also wishes to note that during the production of the film the producer, the director and the editor all had babies. (But not together.) That really does hit just about everything from A to Z, doesn't it?

The Gloaming is only a dream, or is it? © 2008 University of Southern California - School of Cinematic Arts.

The Gloaming
An unassuming office worker sits at his desk, typing away and working at his soul-sucking, unrewarding job. The world outside is dark and bleak and ominous, shadowy birds circle his office building, harbingers of impending doom. After nearly nodding off, and convinced that his eyes have been playing tricks on him, our humble worker notices that his computer monitor has transformed itself into a deep, deep corridor. With nothing to lose, he climbs in. As he crawls, the crows that surround the building discover his path and follow him down the corridor. He moves frantically toward the light, trying to escape, but the crows engulf him, plunging him into complete darkness, and then -- gasp -- he wakes up, back at his desk.

As plots go, "it was only a dream -- or was it?" automatically makes me suspicious that the storyteller ran out of ideas just short of reaching his page count, word limit or time limit, and just barely decided against killing, maiming or otherwise permanently altering his protagonist. It doesn't fly on Saved by the Bell, and it doesn't fly here.

That's not to say that there isn't anything to like about this short, however. Student director Andy Huang gets a good performance out of his lead actor, and his combination of live-action and computer rendering is impressive. The crows look truly menacing and ominous, and Huang's choices in lighting and staging are well choreographed, but "office worker menaced by something that may or may not actually be real" is the start of a good idea, and not a satisfying tale on its own. Huang's a skilled filmmaker, though, and I look forward to more innovative storytelling from him in his future endeavors.