Congrats to Iloura, the VFX and animation studio based in Melbourne, Sydney, for their contribution on Season 6 of Game of Thrones. These side-by-side shots lets viewers see the difference between what was shot on location and what was added in post-production. Ladies and gents, the one and only “Battle of the Bastards”.

Commissioned by Foam and Museum van Loon for the exhibition ‘Second Skin’ in the historic rooms of Museum van Loon, the video showcases an analogue technique by using wallpaper paste and acrylic paint and is entirely made without computer animation. The model was covered with a layer of coloured wallpaper paste unto which different patterns of paint was applied. The patterns slowly shift and become more chaotic. Taking the concept of ‘tribal’ rituals and its costumes and masks, humanity has created to commemorate and honour our deceased. These ‘tribal’ bodies slowly change and their patterns wither over time. Music by Temo Gonzalez.

“Bär is a personal story about my grandfather’s past in World War II. The film is my graduation project from the Institute of Animation, Visual Effects and Digital Postproduction at the Filmakademie Baden-Wuerttemberg in Ludwigsburg, Germany. It was finished in 2014.” WunderBär!

GLITCH IS LIFE. Death Grips’ music video for ‘Eh’, directed by Sean Metelerkamp.

Since 2010, over 250 people have been killed by New York City Subway Trains. Man Under takes you on the personal journey of one MTA motorman’s struggle to get his life back on track after a desperate woman turns his train into her suicide weapon, shedding light on the public tragedy of one of NYC’s darkest secrets. “Suicide doesn’t take the pain away. It gives it to someone else.”

Magic Carpets 2016 is a giant luminous carpet projected on the floor inside of the MK Center. This carpet is made of different virtual and multicolore graphic scenes inspired by emblematic forms associated to urban landscapes in Milton Keynes, which are very constructivist. In a visual way this fluent universe is impacted by the visitors’ movements. Like a giant kaleidoscope the spectator is immersed in a world of colors, moving forms and travels into an imaginary and poetic game of optical illusions.

“…the original 16mm negative from my video of Elliott Smith ‘Coming Up Roses’. […] Going through the footage I had a lot of feels. I wanted to share with his friends and fans. I present to you here the entire playback take we shot for the video back in ’95. I was overcome with emotion watching the tenderness in which Elliott gently prompts Raul the backup singer when he is supposed to chime in with the harmony. The few moments that Elliott drops the music video facade and lets that shy smile his friends knew so well are precious to me. They give me life. I wish the same for you.”

The most violent scenes of Nicolas Winding Refn’s movies.

The end of the world seems like a nightmare to Ben. A memory of a past life that doesn’t belong to him. When Ben starts to remember Isabelle, the only love he’s ever known, he realises she’s missing in his life. An existential descent into confusion and the desperate need to find out the truth begins. This reality depicts a stunning, surprising and dark world. A world that is clearly not his.

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