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This dreamlike film, in which an artist steps into his own painting and explores the landscape of his imagination, won 18 international awards and was ranked 13th in a list of the worlds best animated films.

Jacques Drouins career is linked to one of the rarest of animation techniques: the pinscreen. Since few films have been made using this device, it is difficult to compare his work with that of other animators. His films follow the tradition established by Alexandre Alexeïeff (1901-1982) and Claire Parker (1906-1981), who pioneered the technique. Although their influence on Jacques Drouins films is obvious, he developed his own style by exploring the pinscreens potential.

At its essence, pinscreen works through shadow. A screen is poked through with groups of “pins” that can be moved in and out, and then is lit from the side. When sticking out, the pins cast a long shadow, which creates black on the screen. When pushed in, they cause no shadow and create white. Intermediate distances create different lengths of shadow and white, allowing for a whole scale of gray. The results are what you see in Le Paysagiste, a beautiful tapestry that looks like charcoal sketches put in motion.