The Peel

My Body Is Not My Home is a 3D animated short film following the journey of an uncanny simulacrum who undergoes the process of becoming the ‘Other’.

Independently produced cel-animated film produced by U. Manabuken of Kyushu University, with the cooperation of Manabuken at the time and volunteers from the Animation Research Institute and others. Completed in May 1984 after about 2 years of production. Total number of drawings: approximately 2,000. The work is full of passion for depicting the action of beautiful girls and effects such as explosions and rock splitting, and is a tour de force in terms of drawing and backgrounds, as well as experimenting with filming techniques such as double exposure, transmitted and incidental light, etc. The story, however, is forced, or should not be considered in depth.The extras include some of the settings and moving images, some of the lost cuts, test and play videos, doodles, etc. As the extras, it was introduced in the Dec 83 issue of the animation-related magazine Fan Road

A man is stuck on an island and time feels like it's stopped, until he finds a girl who grows fond of him, and time feels fast again.

Experimental animation film by José Castillo.

Experimental animation film by José Castillo.

An exploration of Japanese culture by experimental animation artist José Castillo.

A yarn ball woman, an old woman who spends her days looking out the window and a seller of clothes that fall from the clotheslines are connected by a thread. The three women lead the actions of other characters and the inevitable fate of a woman with her husband at her back.

A feminine machine, stuffed with modern nano-technology and useless operations is depicted in this mixed-media 2D animation short, highlighting the consequences of consumerism and the downfall of civilized society. The machine reminiscent of a two-dimensional video game, leads to a destructive chain reaction after a strange malfunction, with people turning into clones and robots.

Threnody emphasises some of the madness and instability of a year filled with fires, infections and general disarray.

A child is attacked and turned into a chimera and must learn to navigate his strange world as an entirely new kind of being.

Jack O’ Lantern folktale about the origin of the Will-o’-the-Wisp retold through a haunted doll’s mind’s eye.

A peculiar girl transforms into a cat to catch her crush's attention. But before she realizes it, the line between human and animal starts to blur.

The journey of two storks on an ordinary workday reveals the urgent crisis in maternal health care in the United States. One stork has a relatively safe trip to deliver her baby, while the other faces significant dangers, risking her life; each obstacle serves as a metaphor for various forms of violence or obstetric complications. Throughout her journey, the protagonist visually deconstructs herself, just as she does the idealization of motherhood. A layer of reality begins to take over the screen through experimental manual painting. Upon reaching the maternity ward, the stark difference between the two storks becomes clear: the one who barely survived is the one delivering a Black baby.

A lady bug knight ventures out to find a stinkbug, going on a grueling journey to capture him.

X-ray images were invented in 1895, the same year in which the Lumière brothers presented their respective invention in what today is considered to be the first cinema screening. Thus, both cinema and radiography fall within the scopic regime inaugurated by modernity. The use of X-rays on two sculptures from the Bilbao Fine Arts Museum generates images that reveal certain elements of them that would otherwise be invisible to our eyes. These images, despite being generally created for technical or scientific purposes, seem to produce a certain form of 'photogénie': they lend the radiographed objects a new appearance that lies somewhere between the material and the ethereal, endowing them with a vaporous and spectral quality. It is not by chance that physics and phantasmagoria share the term 'spectrum' in their vocabulary.

In an indeterminate future, forbidden memories challenge a database containing all human memories. An experimental cinematic search between past and future, fiction and fact, Prishtina and Tirana. The future, a glitch.

Yellowbird lives in the ruins of an old house. He lacks the confidence to leave his home, no matter how much Bug, his labybird friend, tries to convince him to go out into the world. Attempts to toughen him up have had little success, so Bug seizes an opportunity that leaves Yellowbird unexpectedly finding himself the new leader of the flock that is migrating to Africa. Still, lacking faith in his own abilities and with danger and imminent failure lurking around every corner, our feathered hero is forced to either find the strength required to work with the team or bow out and stay hidden away forever.

Confusion settles in the house, how to make it a home again?

"You gave me your mud and I turned it into gold". The Flowers of Evil, Charles Baudelaire

The soaked soil, Taking the shape of a mountain, Our river, Flows into yesterday's late sun, Fish try to shun their reflection, Bubbles wrapped the words filling up the fish tank, Fish die in between the gaps of language; Banana leaves brush away the dust on the table, Lungs that refuse to be cleansed, Thermos is a container for storing the shadow of the mountain, The inner shell broken, The mountain walks away in the night; Everything is collected into a shriveled wooden drawer, Bamboo baskets piled on the concrete floor, swaying, The grey soil flowing, Filling up all the old boundaries The dried earth needs no expression, All decisiveness and hesitation lie underneath the smooth surface