Nothing turns completely round in the world of Miet Warlop.

More than a decade after the creation of Springville, here is that it revisits it from top to bottom.

Unless it is the whimsical men-objects of his low-fi universe recalling the aesthetics of Michel Gondry, who decided to return to the vestige of their old house.

The Belgian artist-plastician does not spare his scenography, which drip plastic ribbons and escape smoked and other surprise.

Care of a topped table with gambettes on stilettos, a cardboard on legs with the trumpet-tu, a character with the body of an electrical panel firecracker with sparks at the slightest annoyance or even a wacky jogger three meters high in the words absolutely incomprehensible.

In his surrealist and poetically absurd pieces, Buster Keaton's ghost seems ready to get out of the slightest interstice.


After All Springville forms an awake, strangely familiar and wonderfully incongruous dream.

This explosive story is based on the sweet cartoonian madness of endearing creatures confronted with obsolescence and breakdown.

But nothing is totally tragic here, as the permanent visual enchantment of this Bigarred community (which is reminiscent of ours) touches the irresistibly funny.