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Pierre Hébert - NFB
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Directors (1788)
"h" (77)

Pierre Hébert (6)

Pierre Hébert

Pierre Hébert

After studying anthropology, Pierre Hébert went on to create a number of artisanally crafted animated films. He began working at the NFB in 1965, his application having received the support of Norman McLaren. He was initially a producer with the Animation Studio, alongside René Jodoin, but soon returned to directing, which he continued to do until 1996, making more than 20 films in the tradition of McLaren as well as Len Lye. His work is notable for its cross-disciplinary approach, blending art forms such as poetry, painting, music and dance, and he eventually incorporated improvisation and live performances into his oeuvre. His films stand out for their experimental nature, social and political engagement, and daring formal approach. Hébert left the NFB in 1999 after returning to a producer role for three years. He is the recipient of the Melkweg Cinema Award for Reality Research (Amsterdam, 1985), the ASIFA-Canada Norman McLaren Heritage Award (1988), the Albert Tessier Prize (2004) and the René Jodoin Award (2024).

  • Opus 3
    Opus 3
    Pierre Hébert 1967 6 min
    A film in which both sound and image were created with a minimum of photographic or electronic equipment. The images are a few simple geometric forms--squares, circles, lines, ellipses--arranged and counter-arranged to generate an increasing number of perceived images. Their appearance on the screen is as percussive as the sound that accompanies them.
  • Op Hop - Hop Op
    Op Hop - Hop Op
    Pierre Hébert 1966 3 min
    A hand-made, scratched-on film experiment in intermittent animation. The images are a group of twenty-four visuals, all non-representational, which arrange and rearrange on the screen in many combinations. The result is a changing pattern of sound and image that has its own rhythm for eye and ear.
  • Around Perception
    Around Perception
    Pierre Hébert 1968 16 min
    Watch an early experiment using computers to animate film. The result is a dazzling vibration of geometric forms in vivid colour, an effect achieved by varying the speed at which alternate colours change, so producing optical illusions. In between these screen pyrotechnics there appears a simple line form gyrating in smooth rhythm. Sound effects are created by registering sound shapes directly on the soundtrack of the film.
  • Songs and Dances of the Inanimate World: The Subway
    Songs and Dances of the Inanimate World: The Subway
    Pierre Hébert 1985 14 min
    In this animated film without words, filmmaker Pierre Hébert and musicians Robert Lepage and René Lussier worked together, and separately, in their respective media. This cinema/music performance recreates, impressionistically, the dehumanizing environment of the urban subway. Drawings etch the outlines of people hurtling through space in underground tunnels. The soundtrack, elemental and atonal, gives compelling expression to their alienation.
  • Population Explosion
    Population Explosion
    Pierre Hébert 1968 14 min
    A film in cut-out animation depicting the demographic problems of the world. It shows that in many countries freedom from the old scourges of famine and disease has in turn created the new problem of more mouths to feed. The film suggests that wealthier nations might increase all forms of aid to struggling nations to create a better world
  • Mail Early for Christmas
    Mail Early for Christmas
    Pierre Hébert 1965 23 s
    In this experimental short film, Pierre Hébert explores perception using scratch animation, a technique employed by Norman McLaren. The title also refers to the acclaimed animator’s 1959 work, Mail Early for Christmas.

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