An antique stereograph image of cotton-pickers, computer-animated to present the scene in an active depth even to single-eyed viewers. Silent, mournful, brief. (KJ)

In Capitalism: Slavery, Jacobs uses a Victorian stereograph (a double-photograph) of slaves picking cotton under the watchful eye of a white overseer as the source for this wrenching silent work. Through digital manipulation, Jacobs creates a haunting illusion of depth and movement. It is as if he has "entered" the image and reactivated this historical moment; he moves among the figures and isolates individuals, creating a stuttering, pulsing effect that suggests motion even as it animates stasis.

An anaglyph 3D found footage film about machines and landscape that interlaces motion with stasis, crescendos with glissandos, and reds with blues. Its three movements depict a parked Chevy Caprice police vehicle, Montréal’s Turcot Interchange, and an empty rave room.

A film whose subject is the place (A gymnasium), the time, (the 10 minutes the film runs), and the unconformity of the reality (the gymnasium), and the illusion (the representation of the gymnasium). All the components are strictly combined in an endless cycle, a Möbius stripe, an Escher's film in a japanese tempo, from Slow to Fast, from Pianissimo to Fortissimo.

Alexandre Larose creates supernally spectral superimpositions infused with a meteorological mix and the intense lusciousness of the Québec landscape.

The Chimera of M is a beautiful, stereoscopic 3D animation. Buerkner uses the computer to create abstract interiors, stylised forms and fluid coloured planes in many layers. The voice-over guides us through an ambivalent universe: a web of spatial deception, snatches of dialogue and moral quandaries. Portrayals of couples’ misunderstandings, contained arguments, desires, intimacy and lust. (IFFR)