animation

Maxime Bruneel directs a 9-minute musical short film with a famous song by Serge Gainsbourg, Variations sur Marilou, interpreted in 2006 by Alain Bashung.
The lyrics are based on false repetitions. The same sentences regularly come back, slightly modified. Maxime Bruneel built his music video on the same scheme, with a certain number of extended shots to create variations. The unusual length of the song and its slow and repetitive rhythm claim a strong principle of mise-en-scene. Maxime chose to create 74 animated shots and transfered them to an editor as he would normally do for a live-action music video. The main constraint would have been do the whole project without any precise preview of the music video's cut, without any complete raw cut. The music video thus keeps a spontaneous side with unexpected and cyclic transitions in the repetitiveness.
The song rests between reality and fantasy. The music video explores this aspect by showing Marilou's gestures, parallel to the imaginary world of desire, all at once. It thus responds to the very daring worlds of Bashung and Gainsbourg. Maxime Bruneel's challenge was to achieve to show this image without it being shocking or bandied about. We are closer to Courbet's "Origine du monde" than today's pornographic films.
History reminder :
In 2006, Alain Bashung records his version of "L'Homme à la Tête de Chou", the mythical and totally uncharacteristic album recorded in 1976 by Serge Gainsbourg. In this version, recorded for the musical created and directed by choreographer Jean-Claude Gallotta in 2009, Bashung performs, as only he could do it, this 12-song poetic masterpiece, written by the grand Gainsbar. With his inimitable phrasing, his warm and sensual voice, Bashung imposes his silences, draws the contours of poetic and urban images, always surprisingly modern and exact, with this rock and classy elegance that qualifies him.

Inspired from the works of painter Taro Okamoto, as well as 1970 World Exhibition, this clip was created starting from handmade draws, which have been modelized, textured and computer-animated.

With the support of the CNC - "Aide avant réalisation"

The prestigious digital agency SoleilNoir requested for Parallel's talent to illustrate the new Nespresso's mobile application. Now you can order your coffee from all around the world just by clicking on your phone! Quentin Baillieux, from Parallel, shows us a polished up and "premium" universe with this singular art direction.
Each set element has been worked with an extreme precision and the characters are both uncluttered and elegant.

Art Department - Walls, official music video.

This year we are transported to the Tufties homeland as it is threatened by a pair of gruff woodsmen and their novice companion!

Tobias Fueter, après plusieurs réalisations pour Triumph, signe une nouvelle et très divertissante scène 3D inspirée des Indestructibles.

Hornet, Eddy and Uri Lotan were tapped by RPA to participate in their film series for the Pediatric Brain Tumor Foundation. Cancer is scary and overwhelming in itself, but to be diagnosed as a child can be even more terrifying, as well as incredibly confusing. By creating a group of characters called the Imaginary Friend Society, RPA embraced the task and conceived these films to help teach kids about the process of cancer treatment in a compassionate and yet realistic manner.

There is an emotional clarity to Uri’s work and a true intentional craft to his characters' actions. The piece chosen for Uri was Feeling Sad. And what is sadness? It is such a broad topic, yet RPA and Uri did a fantastic job writing the script and developing the direction. We were drawn to this film as it had a depth and an intelligence to its approach to sadness. These are kids that we are speaking to, and yet we do not want to speak down to them, thus the tone of the film had to feel real and honest.

For Hornet, this work was deeply personal. As with most people nowadays, many of our team have been touched by cancer, so there was not a hesitation to dive right in and be a part of it. And being a pro bono film, it was a true investment of our time, Uri's time and the entire studio's time. It was an honorable task to create a film that can help these children navigate the immensity of emotions, and still present it in a tone that is approachable and graspable.

Music video for “The chase in the ghost train” 
from album “Chaos in Châtelet”
by Yann Kornowicz