{"id":3925,"date":"2026-08-16T16:21:41","date_gmt":"2026-08-16T14:21:41","guid":{"rendered":"https:\/\/t-short.art\/intro\/?page_id=3925"},"modified":"2026-08-30T15:09:40","modified_gmt":"2026-08-30T13:09:40","slug":"bizarre-animation-competition","status":"publish","type":"page","link":"https:\/\/t-short.art\/intro\/index.php\/bizarre-animation-competition\/","title":{"rendered":"Bizarre Animation Competition"},"content":{"rendered":"

[vc_row][vc_column][vc_empty_space height=»62px»][vc_custom_heading text=»Bizarre Animation Competition» font_container=»tag:h3|text_align:center» use_theme_fonts=»yes»][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_empty_space][vc_single_image image=»3928″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][\/vc_column][vc_column width=»3\/4″][vc_empty_space][vc_column_text]The Spring Sea<\/strong> (Japan, 2025)<\/p>\n

Director: <\/strong>Koji Yamamura<\/p>\n

Genre: <\/strong>Experimental, Artistic
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Technique:<\/strong> Paint on Paper<\/p>\n

Synopsis:<\/strong><\/p>\n

A scene inspired by the Seto Inland Sea is depicted in the style of a sumi-e painting, set to a violin version of the koto piece «HARU NO UMI (The Spring Sea)» by Japanese koto player and composer Miyagi Michio in 1929.[\/vc_column_text][vc_empty_space][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3929″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Fly Train<\/strong> (Hong Kong, 2025)<\/p>\n

Director: <\/strong>Ria Riwen Zhang<\/p>\n

Genre: <\/strong>Experimental, Artistic
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Technique:<\/strong> Stop-motion, Animated Objects, Shadow Play \/ Silhouette<\/p>\n

Synopsis:<\/strong><\/p>\n

Fly Train uses shadow play and experimental visuals to explore time and memory. During an ordinary journey, thoughts drift between scenery and fragmented memories, caught in dreams. Everyday silhouettes transform into the surreal, diving into a poetic stream of consciousness.[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3931″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

ab mala usque ad ovo<\/strong> (Estonia, 2025)<\/p>\n

Director: <\/strong>Nadiia Pliamko<\/p>\n

Genre: <\/strong>Experimental, Surrealism, Tragicomedy, Tragedy, Drama, Love story, Fairy tale, Mystery, Philosophical, Music video, Music film
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Technique:<\/strong> 3D, Paint on Paper, Live Action<\/p>\n

Synopsis:<\/strong><\/p>\n

The animated film re-examines the Expulsion from Paradise from a first-person perspective. It portrays anxiety triggered by the collapse of an idyll, leading the Neurotic to confront self-rejection before finding a new form for an unwanted gift. Eastern tradition’s interpretation of the expulsion as a gift, allowing humanity to experience the full spectrum of life, is a key theme.[\/vc_column_text][vc_empty_space][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3933″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Advice for Being a Gentleman<\/strong> (Japan, 2025)<\/p>\n

Director: <\/strong>Masakazu Hirano, Isami Takara<\/p>\n

Genre: <\/strong>Comedy
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Technique:<\/strong> 2D Computer<\/p>\n

Synopsis:<\/strong><\/p>\n

An old gentleman delivers maxims to boys around the world. His seemingly humorous and savage philosophy hides sharp insight into human folly and grace. Inspired by his passion for truth, the boys refine their own judgment. His final lesson — \u201cHow to deal with boring people\u201d — reveals the ultimate truth of becoming a true gentleman.[\/vc_column_text][vc_empty_space][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3935″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Wilderness maps \/ Karten der Wildnis<\/strong> (Germany, 2025)<\/p>\n

Director: <\/strong>Aline Helmcke, Sandra Reyes, Juliane Franke, Franka Sachse, Catalina Giraldo, Ana Vallejo<\/p>\n

Genre: <\/strong>Drama
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Technique:<\/strong> 2D\/Traditional, Stop-motion, Puppets, Cut-outs, Pixilation, Rotoscope<\/p>\n

Synopsis:<\/strong><\/p>\n

A cartographer has lost his orientation: did his tools become useless or could it be that the terrain itself is changing? \u201cKarten der Wildnis\u201d is the story of the cartographer interpreted by seven animation artists who venture into the experiment of making a collaborative film. Analogue animation techniques and a poem by Daniela Danz are their starting points to approach the unknown, following the processes that occur when they enter into this adventure.[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3937″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Creation<\/strong> (Hungary, 2025)<\/p>\n

Director:<\/strong> Emily Ufken, Alexander Conrads<\/p>\n

Genre:<\/strong> Experimental, Abstract, Artistic
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Technique:<\/strong> 2D Computer<\/p>\n

Synopsis:<\/strong><\/p>\n

The Hungarian word \u201calkot\u00e1s\u201d (artwork) has a dual meaning\u2014it can refer both to the process of creation and to the finished artwork. The film tells the story of how a canvas comes alive, how playful, abstract forms are created, each carrying its own human narrative.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3939″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

The In-The-Head Film<\/strong> (Germany, 2025)<\/p>\n

Director: <\/strong>Konstantin von Sichart<\/p>\n

Genre:<\/strong> Experimental
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Technique:<\/strong> 2D\/Traditional, Cell, Rotoscope, AI<\/p>\n

Synopsis:<\/strong><\/p>\n

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A rapidly associative animated film about life inside a neurodivergent mind: too many ideas, too little rest. It explores the inner noise of a filmmaker who wants everything at once \u2013 and almost breaks under it.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3941″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

In the passage of history \/ \u062f\u0631 \u06af\u0630\u0631\u06af\u0627\u0647 \u0632\u0645\u0627\u0646\u00a0 <\/strong>(Iran, 2025)<\/p>\n

Director:<\/strong> Maryam Khoeini<\/p>\n

Genre:<\/strong> Experimental, Abstract, Surrealism, Artistic, Drama, Philosophical
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Technique:<\/strong> Cell, Pencil on Paper<\/p>\n

Synopsis:<\/strong><\/p>\n

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This work, presented in a conceptual framework, explores the emergence, fall, and creation of humankind. From the very beginning of existence, the human being has traversed a path upon which every action and choice leaves an enduring trace throughout each stage of life. Every movement, every decision, and every deed not only reshapes the direction of this journey, but also carries the inherited weight of ancestral actions upon the shoulders of the present being.
\nThis historical and existential burden does not remain confined to the individual; it reverberates through the entirety of the cosmos. The outer world and the inner world of the human become aligned and interconnected, so that any transformation within one is inevitably reflected in the other.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3943″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Tric Trac<\/strong> (Italy, 2025)<\/p>\n

Director:<\/strong> Donato Sansone<\/p>\n

Genre:<\/strong> Horror
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Technique:<\/strong> 2D\/Traditional<\/p>\n

Synopsis:<\/strong><\/p>\n

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«Tric Trac» is an onomatopoeic word used to describe a noise, a creaking sound that is the creaking of the world breaking apart.
\nAt the center of this disaster is a man who has failed to educate himself to the awareness of this magic we are destroying.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3945″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

inthebalance…wanting<\/strong> (United States, 2026)<\/p>\n

Director:<\/strong> Eric Kunzendorf<\/p>\n

Genre:<\/strong> Experimental, Abstract, Surrealism, Artistic
\n<\/strong><\/p>\n

Technique:<\/strong> 2D Computer, 3D<\/p>\n

Synopsis:<\/strong><\/p>\n

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We say we weigh our choices, but how do we really? Our choices have consequences that define our future, but how can we have all the information we need to make choices when our lives are so limited. Time and death circumscribe the tapestry of our lives, yet we must choose despite such limits on our understanding. Relationships end with a word leaving us to wonder how our lives are buffeted in the resulting storm. Even not deciding is a decision where the tide of life sweeps our inactivity away. Or we act with the best of intentions in the belief that we\u2019ve considered the pros and cons of our actions carefully only to find the consequences to be upheaval and destruction. Time and distance sometimes seem to provide a measure of clarity, but on closer examination they simply offer less ambiguity. As a group we are no different. A company terminates a small number of employees to save the larger number. We drop bombs killing hundreds of thousands to save millions more; and we develop weapons that keep the peace through the threat of their use. inthebalance\u2026wanting asks \u201care we choosing \u2018the good,\u2019 or are we simply accepting the lesser of two evils?\u201d It reminds us that rather than making virtue of such decisions, we should recognize the evil in those choices. Time has a way of finding them wanting in the balance.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3946″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Kaukokaipuu<\/strong> (Italy, 2026)<\/p>\n

Director:<\/strong> Valentina Lo Duca<\/p>\n

Genre:<\/strong> Artistic
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Technique:<\/strong> 2D\/Traditional, Rotoscope<\/p>\n

Synopsis:<\/strong><\/p>\n

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Inspired by the Finnish word \u201ckaukokaipuu,\u201d the film explores the nostalgia of the unlived \u2014 a longing for an elsewhere where past and possibility intertwine. Through an intimate and sensory journey, fragmented selves encounter one another in a space where absence, memory, and what never happened coexist.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3947″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Awakening<\/strong> (Russian Federation, 2025)<\/p>\n

Director:<\/strong> Ivan Arkhipov<\/p>\n

Genre:<\/strong> Experimental, Surrealism, Mystery, Philosophical
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Technique:<\/strong> 2D\/Traditional, Pencil on Paper<\/p>\n

Synopsis:<\/strong><\/p>\n

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At the beginning of a lifepath a man is overwhelmed with passions and carnal desires. He then becomes tired and calms down. Consiousness and creativity are awake. It is captivating.
\nThe humanity had been asleep for a very long time. Now is the moment of life awakening and sensing ourselves as a part of something bigger, part of a whole. In this outcry uprises a power for new self-manifestation in our natural way.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3952″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Waiting for the Barbarians \/ En attendant les barbares \/ \u03a0\u03b5\u03c1\u03b9\u03bc\u03ad\u03bd\u03bf\u03bd\u03c4\u03b1\u03c2 \u03c4\u03bf\u03c5\u03c2 \u0392\u03b1\u03c1\u03b2\u03ac\u03c1\u03bf\u03c5\u03c2<\/strong> (France, Greece, 2026)<\/p>\n

Director:<\/strong> Experimental, Artistic, Tragedy, Philosophical<\/p>\n

Genre:<\/strong> Experimental, Surrealism, Artistic, Drama, Fantasy, Adventure, Biography, Philosophical
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Technique:<\/strong> 2D\/Traditional, Ink on Paper, Paint on Paper, Pencil on Paper, Rotoscope, «Blind» animation<\/p>\n

Synopsis:<\/strong><\/p>\n

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In a city\u2014evoking, without specificity, a city of the Roman Empire\u2014the poem depicts a state of waiting: the arrival of the \u201cBarbarians\u201d has been announced, the emperor himself seems ready to submit to their authority, and every hypothesis about the future is possible. The city holds its breath in anticipation\u2026 But who, exactly, are these \u201cBarbarians\u201d? And what if they do not come?<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3951″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Dragon<\/strong> (Israel, 2025)<\/p>\n

Director:<\/strong> Natalia Ryss<\/p>\n

Genre:<\/strong> Experimental, Artistic, Black Humor, Drama, Documentary, Biography
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Technique:<\/strong> 2D\/Traditional, 2D Computer, Stop-motion, Ink on Paper, Paint on Paper, Pencil on Paper<\/p>\n

Synopsis:<\/strong><\/p>\n

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An inner journey through intense states of bodily and emotional reality \u2014 toward light and unconditional love.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3950″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Lullaby<\/strong> (France, 2025)<\/p>\n

Director:<\/strong> Louis Fourel<\/p>\n

Genre:<\/strong> Surrealism
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Technique:<\/strong> 2D Computer, Pencil on Paper, Animated Objects<\/p>\n

Synopsis:<\/strong><\/p>\n

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Waken in the middle of the night by a giant rock in its bed sheet, a sleeper starts to wander in the maze he lives into.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3949″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Urban Hybrid \/ Ibrido Urbano<\/strong> (Italy, 2026)<\/p>\n

Director:<\/strong> Francesco Gini<\/p>\n

Genre:<\/strong> Artistic, Philosophical
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Technique:<\/strong> 3D<\/p>\n

Synopsis:<\/strong><\/p>\n

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Is connecting with nature still a necessity, or have we forgotten how to heed its silent wisdom? Amid glowing screens and constant noise, nature remains a quiet mirror, revealing who we are beneath the surface. Perhaps now more than ever, returning to the rhythms of wind, water, and earth is not merely a desire but a fundamental need, a way to remember what it means to be truly alive.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3953″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][vc_empty_space][vc_empty_space][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

Perspective<\/strong> (South Korea, 2026)<\/p>\n

Director:<\/strong> Eunmi Kang<\/p>\n

Genre:<\/strong> Abstract
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Technique:<\/strong> 2D Computer<\/p>\n

Synopsis:<\/strong><\/p>\n

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Perspective is an abstract animated short set within shifting two-dimensional spaces built through perspective and changing eye levels. Abstract geometric forms move like characters, each defined by a distinct direction, rhythm, and way of moving. These movement patterns unfold through repetition and variation, echoing one another like melodic phrases in a song. Inspired by Paul Klee\u2019s idea that \u201ca line is a dot that went for a walk,\u201d the film explores how meaning emerges through motion and perception.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_single_image image=»3960″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][\/vc_column][vc_column width=»3\/4″][vc_column_text]<\/p>\n

These Weighted Stones \/ \u05d0\u05d1\u05df \u05de\u05e2\u05de\u05e1\u05d4<\/strong> (Israel, 2025)<\/p>\n

Director:<\/strong> Asa Rikin, Noga Sirota<\/p>\n

Genre:<\/strong> Experimental, Documentary, Philosophical
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Technique:<\/strong> Found Footage, 3D scan<\/p>\n

Synopsis:<\/strong><\/p>\n

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An anonymous traveler recounts his visits to three different cities: the spiritual Jerusalem, the material Jerusalem, and the virtual Jerusalem. Though he initially conjures a utopian vision of the city, the traveler discovers a reality more complex than what he had imagined, and ultimately finds sanctuary in a new and virtual version of Jerusalem — peaceful, and empty of its inhabitants.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_empty_space height=»62px»][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_empty_space height=»62px»][vc_custom_heading text=»Bizarre Animation Competition» font_container=»tag:h3|text_align:center» use_theme_fonts=»yes»][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=»1\/4″][vc_empty_space][vc_single_image image=»3928″ img_size=»full» parallax_move=»yes» alignment=»center» style=»vc_box_circle_2″ onclick=»link_image»][\/vc_column][vc_column width=»3\/4″][vc_empty_space][vc_column_text]The Spring Sea (Japan, 2025) Director: Koji Yamamura Genre: Experimental, Artistic Technique: Paint on Paper Synopsis: A scene inspired by the Seto Inland Sea is depicted in the style of a sumi-e painting, set to a violin version of the koto […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page.php","meta":{"footnotes":""},"class_list":["post-3925","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/t-short.art\/intro\/index.php\/wp-json\/wp\/v2\/pages\/3925","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/t-short.art\/intro\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/t-short.art\/intro\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/t-short.art\/intro\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/t-short.art\/intro\/index.php\/wp-json\/wp\/v2\/comments?post=3925"}],"version-history":[{"count":21,"href":"https:\/\/t-short.art\/intro\/index.php\/wp-json\/wp\/v2\/pages\/3925\/revisions"}],"predecessor-version":[{"id":4290,"href":"https:\/\/t-short.art\/intro\/index.php\/wp-json\/wp\/v2\/pages\/3925\/revisions\/4290"}],"wp:attachment":[{"href":"https:\/\/t-short.art\/intro\/index.php\/wp-json\/wp\/v2\/media?parent=3925"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}