The Maestro takes a bite of an apple and begins to play. Suddenly, hell itself, the holes in the walls, barbed wire, and the closed windows start talking to the viewer, often in pairs and sounding like the master himself. Are we certain we’re on the other side of this wall? Are we trapped in this musical box?

This piece showcases Švankmajer’s early animation style, exhibiting a tonal quality and even a mannerist collage-like feel. While stylistically distinct from the feast of form and Czech surrealism that are his later works, this black-and-white miniature, inspired by photographer Emila Medková, earned the Jury Prize at the Cannes Film Festival and is the director’s second short film.