The limits of the landscape are always the same, because they do not understand political borders, but geographical features. A line that separates the sea from the sky, mountainous waves that cut across the sky. Regardless of where you are, these limits follow the same pattern. This film proposes as a starting point the use of these limits to create a sort of landscape collage, to reconstruct the image of the landscape by combining space and time from the capture of the image; from the present, and not from the subsequent construction in post-production, hence the key role of the analogue image. (Laura Moreno Bueno)

The limits of the landscape are always the same, because they do not understand political borders, but geographical features. A line that separates the sea from the sky, mountainous waves that cut across the sky. Regardless of where you are, these limits follow the same pattern. This film proposes as a starting point the use of these limits to create a sort of landscape collage, to reconstruct the image of the landscape by combining space and time from the capture of the image; from the present, and not from the subsequent construction in post-production, hence the key role of the analogue image. (Laura Moreno Bueno)

The limits of the landscape are always the same, because they do not understand political borders, but geographical features. A line that separates the sea from the sky, mountainous waves that cut across the sky. Regardless of where you are, these limits follow the same pattern. This film proposes as a starting point the use of these limits to create a sort of landscape collage, to reconstruct the image of the landscape by combining space and time from the capture of the image; from the present, and not from the subsequent construction in post-production, hence the key role of the analogue image. (Laura Moreno Bueno)

The limits of the landscape are always the same, because they do not understand political borders, but geographical features. A line that separates the sea from the sky, mountainous waves that cut across the sky. Regardless of where you are, these limits follow the same pattern. This film proposes as a starting point the use of these limits to create a sort of landscape collage, to reconstruct the image of the landscape by combining space and time from the capture of the image; from the present, and not from the subsequent construction in post-production, hence the key role of the analogue image. (Laura Moreno Bueno)

In this homage to film noir, a wheelchair bound (Jim Metzler) paraplegic fantasizes about the new blonde (Andrea Thompson), who moves into the house across from him..

When her cheating husband has a debilitating stroke, a woman invites her lover to move in with them.

This series tells the daily life of a couple : Jean and Alexandra. From easy cases: in bed, in the living room, in the kitchen, by phone... to rare ones: lost on an island or in the country, in Hong Kong, during a wedding... Jean and Alexandra's life is not exactly a long, quiet river.

A fast-paced comedy full of misunderstandings: Norbert Krabbe from pan, unemployed Bürokaufmann and passionate contest participant wins a fjord in Lofoten. But how to get only to Norway - for "Norbert Crab Fjord" including his own cabin - when you're broke and one is already driving poor at S-Bahn? What Norbert lack of money, he makes through original ideas betting: Disguised as a cleaning crew, he makes his way to his daughter by train to Copenhagen, on we go as a hitchhiker and with ill-gotten ship tickets. Many abstruse encounters later, among others with Horst Schlämmer, Uschi Blum and the strong-smelling Norwegians Lars, who predicts the future based on a Dog Quartet, Norbert expects the next surprise at its destination ...

杨•蓝尼卡（Jan Lenica）发迹于波兰•迁居法国，并曾在德国工作。他在法国完成的《A》（A，1964），藉由结合幽默与威协感，典型地表现出欧洲的叙事动画。一名作家遭到一个倾入他家的巨型"A"字母所压迫，就在他以为终于把它消除时，又出现了一个巨大的"B"。

杨•蓝尼卡（Jan Lenica）发迹于波兰•迁居法国，并曾在德国工作。他在法国完成的《A》（A，1964），藉由结合幽默与威协感，典型地表现出欧洲的叙事动画。一名作家遭到一个倾入他家的巨型"A"字母所压迫，就在他以为终于把它消除时，又出现了一个巨大的"B"。