The Father is a new short film by Sticky Monster Lab, a collective of three artists from Seoul, South Korea. Presented in a split-screen format as if it is the pages of a book, it simultaneously tells the story of a father and son growing up and getting older, struggling with the pressure to succeed. The Father project also takes the shape of an actual book, poster, and vinyl figures of the main characters. Sticky Monster’s ongoing characters, The Monsters, also populate more of their work – including an epic sci-fi short The Monsters and The Runners for a little shoe company from Oregon.

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The Mill Showreel 2010.

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The simplicity and technical slickness allow for the message to take the front seat, while still providing us with something beautiful and eye-catching to look at.

Sebeastien Agneessens recently sat down with Vivian Rosenthal and talked with a her about the conceptual side of the piece, which you can read here.

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Watching Un tour de Manège (Merry Go Round) is like flipping through the pastel drawings of a child—but coming away with clean fingers. Directed by Nicolas Anthanè, Brice Chevillard, Alexis Liddell, Francoise Losito, and Mai Nguyen, this latest Gobelins short is an impressionistic tale of being lost and found, as experienced through a child’s eyes.

Saying so much by doing so little, Un tour de Manège gets it right. It’s tactile: full of tonal and shading effects, chalky, and sprinkled in baby-powder. It’s innocent: tapping into the existential dramas of childhood, and like many works from the Gobelins school, crystallizing emotions like fear and loneliness in graphical simplicity. These moments are brief, but define a coming of age for the character, and help to humanize the inherent flaw by providing an escape from reality. Liberation by imagination.

The narrative is simple, buttressed by the fundamentals of good storytelling, and follows the same three-act structure documented at the turn of the 19th century. Much is left unexplained. The audience is left to fill in the blanks, without papering over the poetic nuance.

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The crew at Corgan Media Lab create a wilderness of type and triangulated polygons in the AICP Southwest Sponsor Reel.

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It seemed things had begun to stabilize. However, the past week has seen some notable changes amongst some of the established players on the London scene.

This week, @radical.media has closed its London office and formed a partnership with Stink (who also recently took on TEG’s London roster) to provide production support in the UK and additional European markets. Stink will also gain access to @radical.media’s branded entertainment and TV production capabilities.

Additionally, LA-based Biscuit Filmworks and London’s Independent have ended their six-year partnership. Producers for both companies say the split is an amicable one that follows an ongoing discussion about how Biscuit’s roster of directors can be best represented in Britain. “There is limited amount of time in a given work day to spend supporting a lot of directors,” says Independent’s MD (Jani Guest). “In order for us to continue to build Independent, we have to really focus in on our company as opposed to running two companies.”

This move for Independent also comes off the heels of the formation of their animation/digital division, “A Very Special Place,” headed up by Dan Dickerson (formally of Rokkit).

As noted earlier this week, John Hassay, founder and EP of London-based Blink’s music video arm Colonel Blimp has left the company after four years to pursue an undisclosed new venture. Amongst the waves of movement in Soho, it’ll be interesting see where one of pioneer’s of London’s new-school production scene plants himself next.

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Futura Animated

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