Erlking

The slow construction of an image, to the rhythm of steps, ends when the monster meets his Bride.

Through paintings that interact on the principle of Russian dolls, we are drawn along the swirling path of the thoughts of a pilgrim, a solitary walker.

A man exchanges his shadow for wealth, then, disappointed with the result, he has to be content with the seven-league boots, which will help him to find his way.

Between a wave’s rhythm and the breath of a young woman in her sleep, some animated paintings go on modifying each other.

While on an airplane, a traveller's spirit plunges into a dream world. Here, under the influence of the unknown, the logic of his desires prevails, and a romantic saga takes shape.

Movement within a painting, which begins with the savagery of a battle and comes to a halt in a rendition of a masterpiece of the 15th century – The Battle of San Romano by Paolo Uccello.

This is the story about a boy not like the others that dreams about finding his place in the world.

The story of a young deer deceived by appearances, or how a good deed in haste can be the cause of a tragedy.

A waltz played with an accordion starts a short story about the running time.

Loosely following the Greek myth of the Flight of Icarus, Georges Schwizgebel opens his directional career with Le vol d'lcare, a short animation of LED lights.

A work of visual art that borrows from music the principles of the fugue, with the sudden flight of a man to his hotel room as its main theme. Where he dreams.

The story of Cinderella is modernised. Cinderella dreams of clouds and ends up fleeing by plane with her Prince Charming. The image is animated simultaneously at various speeds (decor, moving elements, characters) in connection with the sound tape played by Georges Schwizgebel on the piano. It is an intelligent variation on a well-known story with which the viewer can identify

The film begins with a part of the title disappearing through a cut in its center, cutting through the middle and producing a movement from right to left, revealing a room occupied by a child and her black maid. This is followed by an uninterrupted series of animated images, a kind of fleeting moment or painting that continually transforms, until it becomes a copy of Edouard Manet’s Olympia (1863). The second part begins with the title’s next part, which disappears just like the first one, setting in motion a reverse movement, from left to right, where images related to the first part, out of focus or from other points of view, arrive, ending with the reproduction of Félix Vallotton’s La Blanche et la Noire (1913).

With the complicity of a painter, an elderly man recovers youth and manages to wander through paintings.

‘La course à l’abîme’ is a depiction of the final ride into hell from ‘La Damnation de Faust’ (1846) by Hector Berlioz.