Rob Munday

We live in a time where the decision to have children is more debated than ever. While many are choosing not to pursue parenthood for personal reasons, the deeper tragedy lies with those who long for children but are unable to have them. Infertility can profoundly challenge individuals and their relationships – a reality beautifully captured in Elie Chapuis’ surreal yet deeply relatable stop-motion short, Canard.

At the heart of Chapuis’ story are duck farmers Vladimir and Olga, a couple eagerly preparing for parenthood. The nursery is ready, and they’re doing everything they can to conceive, but the pitter-patter of tiny feet remains elusive. As hope wanes, Olga’s maternal instincts take over when she rescues an injured bird from slaughter. However, her yearning to become a mother raises the question: will her devotion to this damaged duck drive her too far?

Canard starts off as a relatively straightforward story, with the tactile animation and grounded character design lending it a sense of realism. However, it soon shifts into more abstract territory as Olga’s fixation on caring for the injured bird leads her to adopt increasingly bizarre methods of nurture. As both Vladimir and his wife begin to experience unsettling nightmares, the line between their dreamworld and waking reality blurs, leaving the audience questioning what is real.

“I find this intimate yet universal subject a fascinating starting point for exploring the consequences of a very simple situation” – Chapuis discussing his choice to tackle infertility in his film.

With a runtime of just over nine minutes (including credits), Canard delivers a concise and thought-provoking narrative. While its surreal elements add intrigue, the story remains deeply relatable and heartfelt. What truly sets Chapuis’ film apart, however, is its craftsmanship – simple yet remarkably effective, elevating the piece to another level.

The sets are intentionally sparse, the color palette is minimal, and the visible joins of the puppets are left unconcealed. While these choices might stem from economical filmmaking, they come together to create a striking aesthetic. The world Chapuis constructs feels both familiar and uncanny, striking a balance between recognisable familiarity and subtle unease.

While the director acknowledges that he could have created “an animated documentary on the highly topical issue of infertility,” he instead opted for a fictional approach to explore the darker side of this subject. With Carnard screening at festivals worldwide – including Cannes – and picking up awards at Locarno, Warsaw and Zürich, that decision certainly seems more than justified.