Phi 1.618

A deep dive into a snowstorm of structural chaos and a blizzard of exploding gestural animation.

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.

A collection of the animated short films nominated for the 2017 Academy Awards. 1. Blind Vaysha ("Vaysha l'aveugle", Canada, 8') 2. Borrowed Time (US, 7') 3. Pear Cider and Cigarettes (Canada/UK, 35') 4. Pearl (US, 6') 5. Piper (US, 6')

Winter. Somewhere between Tehran and Winnipeg. Negin and Nazgol find a sum of money frozen deep within the sidewalk ice and try to find a way to get it out. Massoud leads a group of befuddled tourists upon an increasingly-strange walking tour of Winnipeg historic sites. Matthew leaves his job at the Québec government and embarks upon a mysterious journey to visit his estranged mother.

From the moment she was born, Vaysha was a very special girl. With her left eye she can only see into the past, and with her right she can only see the future. The past is familiar and safe, the future is sinister and threatening. The present is a blind spot. In captivating parabolic imagery, the award-winning animation artist Theodore Ushev illustrates the world through Vaysha’s eyes.

8 minutes and 19 seconds – that’s all the time we have until the news about the death of the sun reaches us. That's what it takes for the light to travel from there to here. And then the darkness comes… But the theme of this Apocalypse is not necessarily going to be expressed through a global cataclysm, horsemen of the apocalypse, angels of death, fire and destruction. It will rather be shown as something very personal, intimate and almost silent.

Toronto, Canada, 1899. William Lyon Mackenzie King (1874-1950) fervently believes that he is destined to become Prime Minister, but to do so he will first have to fight his personal obsessions and overcome the many obstacles he will encounter on his tortuous path to power.

A descent into the maelstrom of anguish that tormented Arthur Lipsett, a famed Canadian experimental filmmaker who died at 49. A diary transmuted into a clash of images and sounds charting a prodigious frenzy of creation, a tableau depicting an artist’s dizzying descent into depression and madness: with LIPSETT DIARIES, Theodore Ushev renews his filmmaking aesthetic and explores what happens when genius is on a first-name basis with madness.

Director Theodore Ushev uses his own blood to animate struggles with injustice in the world.

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.

Theodore Ushev’s acclaimed 20th century trilogy concludes with this brilliant fusion of 3D and Russian constructivist-styled animation. Recycling elements of surrealism and cubism, this animated short by Theodore Ushev focuses on the relationship between art and war. Propelled by the exalting “invasion” theme from Shostakovich’s Leningrad Symphony (No. 7), the film presents 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.

For his entire life, a man has waited outside a closed door. What lies behind? The truth he seeks or another door?

Three books: a film festival catalogue, a dictionary, the Bible. Three works whose materiality has become obsolete by the digital dematerialization. A commentary on the fragility of culture.

Partly figurative, partly abstract, Drux Flux is an animation film of fast-flowing images showing modern people crushed by industry. Inspired by One-Dimensional Man by the philosopher Herbert Marcus…

Reflection is an exploration of Montreal through an abstract lens. Director Sylvie Trouvé examines how reflected images pervade our surroundings, how our senses filter out these ghost images and, finally, how the camera can capture emotions created by a shimmering puddle or a sparkling coloured glass surface. At the same time, Trouvé raises a new awareness of our urban environment. The editing, which animator Theodore Ushev collaborated on in a spirit of mutual emulation, embraces an animation aesthetic that fully respects the filmmaker’s artistic vision. While examining our relationship with images, this exploration of the city blurs the distinction between real-life shots and animation. Indeed, though inspired by reality, the film is thoroughly immersed in the world of animation.

Ushev recomposes and triturates with great aesthetic vigor and panache Eisenstein's The Old and the New, giving this title a new historical dimension, the Old becoming the USSR and the New Putin's Russia.