The teenager Zoe and her little brother Theo spend a day at the public swimming pool. Theo loses himself in his childish fantasies. The visitors of the pool look like characters from Greek mythology to him. Zoe, less than pleased at having to watch her little brother, hides in the changing room. She has problems of her own because she is struggling with the changes in her youthful body. She looks at her breasts in the mirror, which the tight bathing suit does nothing to disguise. The horror that this change provokes in her manifests in a terrible panic attack.

Theo’s flight to the realm of mythical creatures and Zoe’s anxiety attack are both caused by a shared traumatic experience. The two find a way to overcome past experiences – even without their mother’s support. Ingenious transitions, cleverly constructed details and, not least, great empathy for the siblings’ communicating inner and outer worlds make this film a convincing double portrait.

Images of blurred landscapes fade into each other. Apparent rock formations reveal themselves only at second glance as collages of human body parts. Browsing further through the family album uncovers something that is rather rarely found in such private pictorial chronicles: the backs of people’s heads. Grandparents, aunts and friends do not, as usual, look out of the album and the then at the viewer in the now but into the mysterious depths of a neon-lighted corridor. Its architectural elements form a filmic labyrinth behind whose closed doors animated collages of arms and hands perform everyday gestures in a ghost-like pantomime.

Moïa Jobin-Paré opens found private photo albums. The connections and stories between the pictures remain as abstract as that which the photographs show is concrete. Poetic spaces of interpretation open up. The Canadian artist offers a special reading. She scrapes individual elements or patterns off the analogue photographs and animates these “painterly” edits in a space of washed-out sounds. Scratches and white dots spread mushroom-like on the physically dissolving images.

Adam is 15, bullied by his schoolmates and ignored by the girl of his dreams. His grandmother, who has teased him all his life with nasty remarks about his appearance, uses her dying breath to bring home to him once more his supposed physical shortcomings. Even the prospect of the upcoming summer holidays hardly raises Adam’s spirits, because his father has organised several unpleasant holiday jobs for him to build his character. On top of everything else, the teasing and negative comments manifest in Adam in strange deformations of his body which provoke additional stress and ridicule.

Adam is different. He stays outside while the people around him go about their usual – their “normal” – activities. He watches his sister being cheated on by her boyfriend, must bear a neighbour’s fanatical lawn care accuracy and discovers that a resident of his street throws bags of dog faeces up into the branches of the alley trees. The more the daily madness around him becomes evident, the more Adam emerges as an empathetic and mature young adult. Contrary to all claims he, whom the others regard as a strange eccentric, is in control of his life.