Sang

Film d'animation illustrant l'écrasement de l'homme moderne par le rouleau compresseur de la performance. Entre figuration et abstraction, Drux Flux s'inspire de L'homme unidimensionnel du philosophe Herbert Marcuse. Le cinéaste déconstruit les paysages industriels et met en cause la suprématie de la technique au dépend de l'humanité.

WE BLEED FOR WHAT? Made with the filmmaker’s blood, a testament to the ideals that we fight and die for.

The Physics of Sorrow tracks an unknown man’s life as he sifts through memories of his youth in Bulgaria through to his increasingly rootless and melancholic adulthood in Canada.

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Gloria Victoria unfolds on the still-smouldering rubble of a furious 20th century, propelled by the exalting “invasion” theme from Shostakovich’s Leningrad Symphony (No. 7). Resembling a military march with bolero overtones, the music sweeps over imagery of combat fronts and massacres, leading us from Dresden to Guernica, from the Spanish Civil War to star wars. It is at once a symphony that serves the war machine, that stirs the masses, and art that mourns the dead, voices its outrage and calls for peace.

To the sound of a ramshackle brass band, a world slides towards ruin, carrying with it houses, birds, idols, balloons and whatever is left of reason. Theodore Ushev's Vertical combines expressionistic graphics with a scathing black humour and sense of the absurd.

This animated short by Theodore Ushev is like a whirlwind tour of Russian constructivist art and is filled with visual references to artists of the era, including Vertov, Stenberg, Rodchenko, Lissitsky and Popova.

Heralding the “end of paper,” this experimental animated short is an abstract exploration of a number of big issues, from the ephemerality of the digital age to the practice of recycling. To create this painting in motion, Theodore Ushev took an animation film festival catalogue and set its pages alight with the broad strokes of a paintbrush.

This animated short by Theodore Ushev depicts the maelstrom of anguish that tormented Arthur Lipsett, a famed Canadian experimental filmmaker who died at the age of 49. His descent into depression and madness is explored through a series of images as well as sounds taken from Lipsett's own work.

In this short animation, Theodore Ushev signs a violent, brutal and troubling political statement in his own blood and narrates it in his own gravelly voice. All over the world, idealist revolutionaries shed their blood to denounce injustices. Yet blood is also the very symbol of life. Sketches drawn using the filmmaker’s own blood explore this paradox. Why fight for ideals, noble though they may be, if you must die for them in the end? Are rebellion and insurrection egotistical deeds, or are they lessons in pure altruism? Poetic and philosophical, the film explores these complex and important questions.

The NFB’s 74th Oscar®-nominated film.

This short film tells the story of Vaysha, a young girl born with one green eye and one brown eye. But colour isn’t the only thing that’s different about Vaysha’s gaze. While her left eye sees only the past; her right sees only the future. Like a terrible curse, Vaysha’s split vision prevents her from inhabiting the present. Blinded by what was and tormented by what will be, she remains trapped between two irreconcilable temporalities. “Blind Vaysha,” they called her.

In this metaphoric tale of timeless wisdom and beauty based on the eponymous short story by Georgi Gospodinov, filmmaker Theodore Ushev reminds us of the importance of keeping our sights on the present moment.

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This animated short by Theodore Ushev combines warmth, humour and magic in a story about a young girl who misses her grandmother. When Lili finds a tzaritza (magic shell) along the seashore, she hatches a plan to bring her Grandma from Bulgaria to Montreal to make her father happy. Part of the Talespinners collection, the film features music by Normand Roger.