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Tale of Tales
Tale of Tales (Yuri Norstein, 1979)

    Tale of Tales

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    Yuri Norstein, Soviet Union, 1979, 29’

    Widely acclaimed as the best animated film of all time, Tale of Tales is a poetic amalgam of Yuri Norstein’s memories and hopes and fears for the future: his post-war childhood, remnants of the personal tragedies of war, the little wolf character in the lullaby his mother used to sing, the neighbours in his crowded communal flat, the tango played in the park on summer evenings, and the small working-class boy’s longing to emerge from the dark central corridor of the kommunalka into a luminous world of art and poetry. 

    Clare Kitson

    Bio Yuri Norstein

    Russian Yuri Norstein is best known for his animated shorts, Hedgehog in the Fog and Tale of Tales. According to the Washington Post, “He is considered by many to be not just the best animator of his era, but the best of all time”. After working as an animation artist in some fifty films, Norstein got the chance to direct his own. He debuted on 25th October, the First Day, sharing directorial credit with Arkadiy Tyurin. Throughout the 1970s, his animation style became ever more sophisticated, looking increasingly like smoothly moving paintings or sophisticated pencil sketches. Norstein uses a special technique in his animation, involving multiple glass planes to give his animation a three-dimensional look.

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    “Greatest” Short Films of All Time 2025

    02.02.2026

    As a collective love letter to the art of short-form moving image, yanco and Kurzfilm Festival Hamburg, together with Talking Shorts, invited filmmakers, curators, critics, and scholars worldwide to participate in a first-ever poll of its kind. Invitees were asked to nominate ten audiovisual works under sixty minutes that they personally consider the “greatest” of all time. Through this non-academic approach to canon-building, this has led to an inspiring list of 105 titles.

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    • This film was #44 in the “Greatest” Short Films of All Time 2025
      voted by Paul Landriau, Ngọc Duy Lê, Andreea Patru, Koen de Rooij, Carlos Ramos, Ilinca Vânău
    animation biography coming-of-age poetry portrait

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    Noonlight

    Kayt Schneider, Belgium, 1991, 10’

    Passing through the Noon Market in Brussels, filmmaker Kayt Schneider captures the peaceful, poetic coexistence of people and cultures.

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    Mars, Oman

    Vanessa del Campo, Belgium, 2019, 20’

    Oman’s vast plains look so much like Mars that they are used as a training ground for astronauts. Two local girls gaze at the starry sky like curious scientists while the astronauts philosophise about living on the Red Planet.

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    The White Elephant

    Shuruq Harb, Palestine, 2018, 12’

    Using images shared on the Internet by Israelis during the Gulf War, the First Intifada, and trance music gatherings, Shuruq Harb paints the portrait of a Palestinian teenager in the 1990s. In the midst of Israeli pop culture and the political climate of the Oslo Accords, she comes to grips with her anxiety.

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    Pirate Boys

    Pol Merchan, Germany, 2018, 13’

    Punk author Kathy Acker’s work is the starting point for a conversation about gender identity and body transformation and is linked to the punk movement of the 1970s and 1980s.

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    elephantfish

    Meltse Van Coillie, Belgium, 2018, 27’

    A ship drifts in the middle of an endless sea. Aboard is a crew of five. They all cope with boredom — some by trying to overpower it; others by escaping into a parallel world guided by dreams.

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    Gestes du repas

    Luc de Heusch, Belgium, 1958, 23’

    This satirical ethnographic film shows eating Belgians in diverse contexts. Dinner scenes at weddings, funerals, Christmas, and New Year’s Eve portray a country: loneliness and community alternate, just as wealth and poverty.

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    Red Giant

    Anne Verbeure, Belgium, 2021, 11’

    Day and night, a giant sits on a hill, far away from his smaller fellow man. He fills his days organising things and making sure everything is in the right place at the right time.

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    Note on Multitude

    Ibro Hasanović, Belgium, Kosovo, 2015, 8’

    Intimate, emotional, and sometimes violent moments of farewell: men, women, and children leave their homes for an (unknown) future as migrants.

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