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A portrait of a deserted fisherman’s village in Northern Norway called Børfjord, a place with an incredible personality in the middle of magnificent Arctic nature. The film was filmed in 70mm Super Panavision, using a specially developed “nature animation” technique. This suggestive trip to Norwegian nature speeds up time 50,000 times and days pass within seconds.

Diversity is a rhythmic, hypnotic stop-motion piece with elements of non-phased animation that we can see on the crown caps of well-known German beer brands. They are combined in various compositions and morphed into each other to abstract it from its original meaning into an intense and energetic visual composition.

This combined film that apart from specific animation uses also real footage, rapid camera movements, close-ups and dynamic editing interprets the decorations from human bones in the chapel in Sedlec, a suburb of Kutná Hora. The original film was accompanied by a recording of the chapel’s official guide, but after the events of the year 1968 in Czechoslovakia, it had to be replaced by a version without commentary that the film’s author rejected.

This one-minute-long “touchless” film documents the author’s journeys through Northern Bohemia. Rather than the tourist signs themselves, Matyáš Trnka brings to life their immediate surroundings. He invites us on a sixty-second-long journey through woods and towns where signs seem permanent, but the landscape changes.

Pacer looked at the world in a way no film had before it. The geometry of the city and its construction, the artistry of Montreal’s landscape seen through the hyper-prism of a camera racing through time in a different dimension. Pacer can lay claim to being the first hyperlapse film, or at the very least, to being the precursor to its development. It was shot on a Bolex 16mm camera.

Paul Bush accepts the challenge of the philosopher Ludwig Wittgenstein: “What prevents me from supposing that this table either vanishes or alters its shape when no one is observing it and then when someone looks at it again it changes back? But one feels like saying – who is going to suppose such a thing?” Bush changes not only a table, but everything else lying around his house.

In this unique short, Israeli animator Gil Alkabetz discovers secret movements within Leonardo Da Vinci’s The Last Supper, where animated fragments of the painting reveal eating, dancing, discussion and argument. The fresco comes to life in front of our very eyes and we can watch an unexpected story unfold.

In his storyless film, Vojtěch Domlátil focuses on various patterns that surround us and that we repeatedly encounter but we do not pay any attention to them. A real physical feeling from the used materials is supplemented by corresponding sounds and, as the author says, “is built upon perfect patterns.” Tenderness, weakness and kitsch. Life in twelve frames per second.

The remarkable project Urbanimatio was created by a duo of Estonian filmmakers in ten random cities throughout the world. The result is a poetic portrait of the anonymous urban sphere. The authors were particularly interested in the themes of evolution and decay, ageing and regeneration but also in the visible magic of the dynamic symbiosis of stone, concrete, wood and steel. The authors describe their film as “magical realism in its most natural form.”

An observer, who clears his mind and constrains his resources to work only with time and motion in space, can not only find pixilation rapture, but what’s more, if he connects to the wave, his journey will consume him in his entirety. And everything plays its part – waving of the grass, clouds, hills and valley, sunlight and also ourselves. A non-narrative pixilation of the Czech landscape.

BOOKANIMA, a compound word of “book” and “anima”, is experimental animation to give books, specifically pictures from books, new cinematic life. It enables us to watch these images moving along the border of picture and film in their specific choreographies.

More than three thousand insects appear in this film, each for a single frame. As the colours glow and change across their bodies and wings it seems that the genetic programme of millions of years is taking place in a few minutes. It is a rampant creation that seems to defy the explanations of evolutionists and fundamentalists. It is like a mescaline vision dreamt by Charles Darwin.

Accompanied by African music – singing and drums – we can admire the film and dancing potential of seemingly immovable gothic architecture. For their humorous contribution to the series of urban symphonies, the authors have chosen the cold North. Their star is the façade of the Nidaros Cathedral in Trondheim, Norway.

Is Prague a place to live or just a tourist attraction? Why do people move away from its centre and then feel like foreigners when they come back? The film confronts the magical beauty of the historic city with the ubiquitous tourism that has long since crossed the boundaries of good taste and morality. Is there any chance that the city can still be purified – and its beauty restored?