In the ever-evolving world of animation, directors Jack Cunningham and Nicolas Ménard break new ground with their latest project, TRIPLE BILL, an anthology of stop-motion short films that redefines the medium. Eschewing traditional materials like clay or wood, this visionary duo has embraced 3D printing as their primary tool, crafting a unique cinematic experience that blends the tactile charm of stop-motion with the precision of digital fabrication.
TRIPLE BILL is not just a collection of short films; it is a bold artistic statement that showcases the versatility of stop-motion in a new light. Each segment in the anthology presents a distinct narrative and visual style, all bound together by the directors’ shared ambition to push animation forward. The use of 3D printing allows for an unprecedented level of detail, enabling intricate character designs, seamless motion, and striking visual textures that would be nearly impossible to achieve with traditional methods.
Shot using a technique called replacement animation, each model had to be cut, sanded, and painted individually before being precisely placed in position. A time-consuming process that means numerous models had to made, a new one for each frame of motion. Ménard told It’s Nice That that elements like lighting, sound, and camera angles were particularly important to help convey emotion in TRIPLE BILL. All three shorts intersect at their criticism of technology.
The first short in the anthology, “BLUE GOOSE,” is a satirical western that takes aim at the current state of social media. Featuring a towering, monolithic cowboy statue as its central figure, the film cleverly critiques digital culture through the lens of a stylized, dust-laden gas station overrun with advertisements. With exaggerated character animations he escapes the “noise” for clear vistas.
The second short, “CLUB ROW,” shifts into the shadowy world of film noir, poking at data privacy in a visually striking setting. The film follows a lone office worker navigating an endless, spiraling staircase; potentially a metaphor for the never-ending loop of surveillance and digital footprints left behind in the modern age. With moody lighting and a tense, paranoia-fueled soundtrack, “CLUB ROW” stands out.
The third and final short, “MYTHACRYLATE,” ventures into the realm of modernist fantasy, offering a deeply introspective take on the battles we wage within ourselves. With a dreamlike aesthetic and fluid character transformations, the film makes use of the multiplicity of characters inherent to replacement animation.
With TRIPLE BILL, Cunningham and Ménard have crafted more than just a film—they’ve created a testament to the limitless potential of animation. By harnessing the power of 3D printing, they invite audiences to rethink stop-motion as not just a nostalgic craft but an evolving and dynamic storytelling medium. As the industry takes note, TRIPLE BILL may well set the stage for a new era of stop-motion filmmaking.
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