ToonsTunes is a musical composition that consists of four distinct movements put together by editing and looping lo-fi audios taken from Donald Duck cartoons. The different compositions alternate fast and slow rhythms and rueful sounds with more excited ones, from which the calls and quacks of the character’s voice emerge.

Partly to support his family, Farocki made short children’s films for German public television. In these Bedtime Stories he uses simple objects as bridges, railways, and ships to elucidate cinematographic methods. Two girls, his daughters, play a poetic game, filling the space between daytime and dreamtime.

Hand-processed Super 8 transferred to digital, tests the physical limits of vision by recording images of milky clouds dissolving into air. Clouds brought Marcon, by association, to speech bubbles in cartoons and their boundless visual liquidity.

Flying Glove is a series of three animated gloves inflated by the wind. The animations, created using traditional animation techniques and filmed on 16mm black and white film, are a study of repetition, light, and movement.

Hand-painted by the artist, we see a close-up of a head caught on the threshold between sleep and wakefulness or maybe from wakefulness to sleep. Through the protagonist of this film, a lonely teenager, trapped in doubt and indeterminacy, Marcon portraits a range of emotions that have become more and more prevalent: overwhelmed by images, struck by social media, and exhausted by impotence towards a political situation that is suspended between the tragic and the grotesque.

Peter Wächtler’s silent film Untitled (Vampire) is a mesmerising portrait of a solipsistic vampire, played by Wächtler, and the secluded life he leads in a castle high in the mountains. In his diaristic accounts, existentialism meets the small comforts of consumption culture in the most bizarre yet plausible manners.

Inside a shed illuminated by an autumn dawn, a young boy hanging from a noose, is yodeling. Traditionally employed in the Central Alps to call the cattle back to the barns or to communicate with distant villages, Fritz’s jodel is instead a muffled call and a lugubrious requiem, accompanied by other voices coming back from nearby valleys and mountains. Composed by long-term collaborator Federico Chiari, the jodel was performed by Coro Genzianella, an all-male Italian folk choir founded in 1961 in a small mountain village in the Trentino-Alto Adige region.