After Images

Still from Reservoir (2021) by Micah Weber

After Images (with filmmaker Q&A) 
Cinema screening: Close Up, London Sat Nov 27, 2021 3PM – Tickets + info
Online screening: Viewable for 48 hours from Sat Nov 27, 2021 3PM GMT – BOOK HERE

It is 10 years since the artist, filmmaker and animator Robert Breer died and his impact on experimental animation practice is greater than ever. After Images presents a range of work by contemporary animation artists who have built on Breer’s myriad formal and conceptual innovations, taking his lead into unexpected new directions.

Breer’s work collides radical discontinuity with cartooning and found materials, formally daring one moment, daftly humorous the next. This selection brings together a diverse range of work that connects to Breer’s in different ways, but is by no means a definitive survey, and indeed not all of the films were made consciously or directly under his influence. Rather it reveals interesting connections between a range of new work and Breer’s, with the aim of stimulating ideas and questions about his legacy from a number of different perspectives. These films share many of Breer’s concerns and themes, but perhaps if there is one unifying element to all of the films it is that you truly never know what will happen next.

The screening will be followed by a conversation with some of the filmmakers in the programme.

After Images is one of two programmes programmed by Edge of Frame for London International Animation Festival 2021, the other, Fvoom! The Animated Films of Robert Breer, an online only selection of Breer’s own work, will be available to view through the LIAF website for 48 hours from Friday 26th November.


Pink Shoes (Robin Clifford Ellis, 2020)
A short film utilising an Axidraw pen plotter to produce all the visual material. With music by Absolut Sagan.  
(Finland, 1’30)

6 Weeks in June (Stuart Hilton, 1998)
An animated road movie. 11000 miles across the USA and back in a transit van with a rock and roll band, a pencil, a stack of A6 paper and 6 weeks in June to do it.
(UK, 6’00) 

Ñam (Elena Duque, 2014)
A fruity capriccio of precarious animation, a fruit salad in spasmodic movement together with edible muppets as guest stars. 
(Spain, 2’00)

Aqua (Ira Vicari, 2021)
A watercolour fantasy and some flowers. With music by Michel Berthelot. 
(France, 11’00)

Summer Fashion (Peter Mack, 2021)
One thing leads to the next, a medium or “style” is ditched according to whim, when the animation becomes stressful or not fun – make it fun ….and it ends up where it ends up. 
(USA, 1’00)

I’m OK (Elizabeth Hobbs, 2018)
Following the end of a stormy love affair, Expressionist artist Oskar Kokoschka enlists in the First World War. After suffering serious injuries in battle, he experiences a series of memories and visions as medics transport him through the forests of the Russian front. 
(UK, 6’00)

Unsubscribe #1: Special Offer Inside (Jodie Mack, 2010)
A flurry of security envelopes casts spells on the screen. Cello by Christy LeMaster and Traci Jo Partin
(USA, 4.30)

La Mar Salada (Elena Duque, 2014)
A film about the salty (Galician) sea, accompanied by a medley of barely remembered (Asturian) sailor songs from a tape by the Luanco’s Bajamar Choir. 
(Spain, 3’00)

Intermediate Landscapes (Richard Negre, 2018)
A choreographic negotiation between abstraction and figuration.
(France, 9’30) 

And (Peter Mack, 2016)
I went into this wanting to play with loops in hand drawn animation. This didn’t end up being a loop. 
(USA, 1’00)

Blue (Jack Greeley-Ward, 2021)
A monochromatic exploration of the colour Blue. 
(UK, 3’00)

Reservoir (Micah Weber, 2021)
From the politics of the slaughterhouse to vanishing in the wilderness: An archive of images harmonize into an ambience of violence, disengagement, and disappearance. The tone of this work should be read as an object.
(USA, 8’00)

Enough to Drive You Mad (Karen Yasinsky, 2009)
‘The starting point was a still from the film Au Hasard Balthazar by Robert Bresson.’ – Karen Yasinsky
(USA, 2’30)

Palms (Mary Helena Clark, 2015)
Alluding to a state of disembodiment, the film’s images arrive like thoughts, encountering them as both agents of and extractions from the real world. Here our vision is monocular.
(USA, 8’30)

Still from Intermediate Landscapes (2018) by Richard Negre