Co Hoedeman

Based on a poem by Marie Jacobs, the animated short 55 Socks, by Oscar-winning director Co Hoedeman, pays tribute to the ingenuity of the Dutch people during a dark period of their history - the winter of hunger of 1944-45. It's the closing months of the war in occupied Holland and some women unravel a beautiful bedspread in order to knit 55 socks to barter for food. Reaching back into his childhood memories, Hoedeman has made a simple, poetic film of rare beauty.

The curtains of a theatre open onto a smaller puppet theatre presided over by Marianne. The ringmaster waves her baton at three shadowy acrobats that climb one by one out of her hat. Each performs his number, although not without some difficulty. The clumsiness of the first, the mischievousness of the second, and the fieriness of the third trigger a few clashes that ultimately lead to chaos. How can Marianne create harmony without losing control? Will her show flop? Who's really calling the shots, the little puppet or her acrobats?

The curtains of a theatre open onto a smaller puppet theatre presided over by Marianne. The ringmaster waves her baton at three shadowy acrobats that climb one by one out of her hat. Each performs his number, although not without some difficulty. The clumsiness of the first, the mischievousness of the second, and the fieriness of the third trigger a few clashes that ultimately lead to chaos. How can Marianne create harmony without losing control? Will her show flop? Who's really calling the shots, the little puppet or her acrobats?

The curtains of a theatre open onto a smaller puppet theatre presided over by Marianne. The ringmaster waves her baton at three shadowy acrobats that climb one by one out of her hat. Each performs his number, although not without some difficulty. The clumsiness of the first, the mischievousness of the second, and the fieriness of the third trigger a few clashes that ultimately lead to chaos. How can Marianne create harmony without losing control? Will her show flop? Who's really calling the shots, the little puppet or her acrobats?

The curtains of a theatre open onto a smaller puppet theatre presided over by Marianne. The ringmaster waves her baton at three shadowy acrobats that climb one by one out of her hat. Each performs his number, although not without some difficulty. The clumsiness of the first, the mischievousness of the second, and the fieriness of the third trigger a few clashes that ultimately lead to chaos. How can Marianne create harmony without losing control? Will her show flop? Who's really calling the shots, the little puppet or her acrobats?

Winter Days is a 2003 animated film, directed by Kihachirō Kawamoto. It is based on one of the renku (collaborative linked poems) in the 1684 collection of the same name by the 17th-century Japanese poet Bashō. The creation of the film followed the traditional collaborative nature of the source material – the visuals for each of the 36 stanzas were independently created by 35 different animators. As well as many Japanese animators, Kawamoto assembled leading names of animation from across the world. Each animator was asked to contribute at least 30 seconds to illustrate their stanza, and most of the sequences are under a minute (Yuriy Norshteyn's, though, is nearly two minutes long).

A miserly man eats the pits of some cherries he can't stand throwing out. A tree starts growing from the top of his head. He cuts it off; it grows back. After a while, he gives up and lets it grow, but the crowds that gather on top of his head to enjoy the tree (and leave huge mounds of trash) eventually drive him to uproot the tree. This leaves a crater on top of his head, which fills with water, which becomes a popular lake.

It's summer and Ludovic is invited to his grandfather's farm. The little teddy bear finds Grandpa very saddened by the death of Grandma, and Ludovic is fascinated by a room filled with mementos. Grandma's portrait comes to life, and Ludovic is able to kiss and hug her. This poignant tale evokes the closeness and understanding between a grandfather and his little grandson who gradually learn to accept the death of a loved one.

Ludovic: A Crocodile in My Garden is the second film in the collection Seasons in the Life of Ludovic. This one explores the world of play. Magical thinking governs Ludovic's world. It is springtime. Ludovic, in his garden, reigns over his menagerie of paper animals and their jungle home. In his improvised Africa, Ludovic goes from one surprise to another until the animals help themselves to the surprise brought by his mother. When they refuse to obey him, Ludovic doesn't want to play anymore. He bangs the door and pouts. But children's fights don't last. Reconciliation is not far off, especially when there is a snack to be shared by everyone.

It's winter in a thatched cottage, home to a family of teddy bears. The young cub Ludovic dreams of tobogganing but his parents tell him he's too little. He invents wonderful games to share with a doll that miraculously comes to life. This tender tale evokes the cozy relationship between a child and a favourite toy.

It's winter in a thatched cottage, home to a family of teddy bears. The young cub Ludovic dreams of tobogganing but his parents tell him he's too little. He invents wonderful games to share with a doll that miraculously comes to life. This tender tale evokes the cozy relationship between a child and a favourite toy.

It's winter in a thatched cottage, home to a family of teddy bears. The young cub Ludovic dreams of tobogganing but his parents tell him he's too little. He invents wonderful games to share with a doll that miraculously comes to life. This tender tale evokes the cozy relationship between a child and a favourite toy.

In a beautiful garden called Ecos, there are a variety of creatures there who neatly fulfill vital roles in the healthy ecological system of the area. However, this state of reasonable environmental harmony is disrupted when a new species of grub like creatures begin to ravish the land of a needed fruit. This folly leads to the disruption of the environment of the garden while this greed leads to a series of events that have tragic consequences.

An animated film that uses the Arctic landscape and the traditional Inuit characters of the Bear, the Seal and the Owl to raise young people's awareness about the harmful effects that substance abuse represents.

Oscar-winning animator Co Hoedeman and his newest creature come together in this enchanting and colourful fable about the joys and pains of growing up. No sooner has the paint dried, than the puppet begins to take its first few steps and, urged on by the artist, begins to discover a wider world. He experiences the joys of playtime and sharing and eventually begins to spread his social wings. The film charts the shaping of a personality, and the evolution of a sense of self-awareness until the creature is ready to leave its protective environment. Live-action, puppets and pixilation create this amazing world of fantasy. Film without words.

A touching story of the friendship between a grandfather and his grandson, this is a film about aging and death. Award-winning animator Co Hoedeman combines 3-D and cut-out animation techniques to create a very dramatic and moving film. The story follows Charles and François through the different stages of their lives. With time, they become closer, common experiences having diminished the difference in age. By the end of the film, time appears to stand still; both are over one hundred years old and they are almost indistinguishable.

The magical fingers of master animator Co Hoedeman, whose film The Sand Castle won an Oscar in 1979, has created yet another world of piquant creatures. Papier mâché puppets ride machines and manipulate robots strange to the human eye. A great masquerade is in the planning, and the air crackles with excitement. Plunged into the joys and frustrations of creating costumes, the zealous puppets produce a bumper crop, each one more elaborate than the last. The film illustrates the creative process, with its inevitable pitfalls and rewards. It says that to create is to be alive.

An animated vignette. A lively dance of painted wooden dolls that twirl, swing and sway to gay music.

A film about the life and work of the acclaimed Dutch animator.

Octopus-like puppets cut out of foam rubber are the central characters in this delightful underwater fantasy with its message about ecology and conservation. Two Grotoceans sent on a special mission find all kinds of surprises awaiting them as they roam the sea in search of treasure. Film without words.

En un desierto, un hombre hecho de arena construye otras criaturas de arena para que le ayuden a construir un hermoso castillo de arena para todos ellos. (FILMAFFINITY)

Al señor Pointu le gustaría jugar con su violín, pero el violín tiene otras ideas.

An Inuit tale of familial revenge.

This short film, in which a hunter is pursued, bound up and carries to a cave, tells the legend of a river, and of how fog came to the land. The story is enacted using katadjak or throat singing.

An Inuit tale of familial revenge.

Using life-like seal fur puppets, this animated short by Co Hoedeman tells the traditional Inuit tale of the owl and the raven.

Using life-like seal fur puppets, this animated short by Co Hoedeman tells the traditional Inuit tale of the owl and the raven.

This short children's film by Co Hodeman tells the story of 2 children and their encounter with an angry dragon, all represented by colourful building blocks.

This short children's film by Co Hodeman tells the story of 2 children and their encounter with an angry dragon, all represented by colourful building blocks.

Using life-like seal fur puppets, this animated short by Co Hoedeman tells the traditional Inuit tale of the owl and the lemming.

A dance of painted wooden Russian dolls (hollow inside and of graded sizes so that the largest holds all the rest). They twirl, swing and sway to gay Russian tunes, never losing their fixed reserve. As the dance ends they hop up in turn into the mother figure, who then hurries off the scene.

A dance of painted wooden Russian dolls (hollow inside and of graded sizes so that the largest holds all the rest). They twirl, swing and sway to gay Russian tunes, never losing their fixed reserve. As the dance ends they hop up in turn into the mother figure, who then hurries off the scene.

A child founds a strange ball.

A child founds a strange ball.