Serial Parallels

One of two animation loops directed by Max Hattler, inspired by the work of French outsider artist Augustin Lesage (1876-1954). Based on Lesage's painting A Symbolic Composition of the Spiritual World from 1923.

A soundtrack of nature gives way to motors and machines, then an explosion, followed by sounds of explosions and gunfire. On the screen are images as if in a kaleidoscope - of red, white, and blue shapes and of black and green shapes. Islamic and U.S. patterns appear and disappear. Is the collision one of dissonant colors, shapes, and images? Is warfare inevitable?

A colourful "fountain performance".

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.

A short film that shows a man striking bizarre poses has been interpreted as a comical representation of behavior on the soccer field

Do you need more proof? Sensational crystal-clear footage of shape-shifting UFOs recorded under the influence in Farra di Soligo, Veneto, Italy!

An attempt to visualize higher dimensions and unearthliness, taking into account these concepts' heightened awareness, when attempting to process or predict the end of the world.

A complex choreography of re-animated miniature soldiers moving to the exquisitely synchronised command of a master manipulator. Toy soldiers against toy soldiers in the satirical animated short Spin

Hand drawn animation by Ho Tsz Wing is a creation of an imaginary and magical forest

Night vs. light, music vs. motion, figuration vs. abstraction. Experimental video artist Max Hattler utilises distorted urban imagery and neon glare to create this entrancing short

The weird hand creatures undergo different transformations in synchrony with the music.

A minimalist optical sound meditation on simplicity and repetition building complex arrangements of audio-visual oneness, where the most basic geometric shapes draw intricate visual and sonic patterns.

Taking inspiration from 20th-century avant-garde experiments in graphical sound generation, the entire image in O/S functions as an optical soundtrack. Abstract motion becomes sound.

Drift by Max Hattler sees the body as a metaphorical landscape. Eerie and sometimes too close for comfort the film manages to transform the familiar and mundane into something poetic and mysterious. A narrative grows out of what at first seems like nothing, but by the time the journey is over the viewer is left wanting more. What has happened is uncertain and maybe unimportant. The mood is at the heart of this piece. One part horror film and one part nature study certainly makes for a compelling mix.

A very brief encounter with the world of the stars.

"An exciting experiment in the tradition of Oskar Fischinger (Komposition in Blau, 1935), Dwinell Grant (Composition No. 1, 1940) and Slavko Vorkapich (Abstract Experiment in Kodachrome, 1950s). Max Hattler presents a well-done interaction between music and moving images. Space is turned upside down and the animated objects become faceless dancers in a constructivist ballet." Vienna Independent Shorts 2010, jury statement by Anton Fuxjäger