I FOUND A BOX Animation dir. by Éric Montchaud I France

April, 2026

The Poetics of the Useless: A Conversation with Eric Montchaud on the Magic of the Tactile

By Koumoutsi Soultana

The work of Eric Montchaud exists in the delicate space where the inanimate acquires a soul. Much like a child discovering a hidden universe within a discarded relic, Montchaud’s cinema is a testament to the "art of the ordinary"—a rigorous exploration of how everyday objects, from a small saucepan to a mysterious box, can become the vessels for profound human emotion. His latest film, The Box, serves as a quiet manifesto for this perspective, challenging our adult obsession with utility and inviting us back into a world governed by wonder.

A filmmaker who honors the tactile and the imperfect, Montchaud refuses to prioritize the polished over the authentic. His aesthetic is one of reduction and raw materials, where the "humanity" of a character is found not in digital perfection, but in the visible textures and the charming fragility of a handmade puppet. For Montchaud, animation is not merely a technique; it is an act of reclaiming the imagination from the commercial and giving it back to the dreamer. It is a world where silence doesn't represent an absence, but a space for the viewer to project their own internal narrative.

As his film arrives at the Psaroloco Festival 2026, carrying with it the legacy of a career dedicated to the "useless" and the poetic, we sit down with Eric Montchaud to discuss the ethics of childhood wonder, the necessity of daydreaming, and why a simple wooden box might just be the most essential thing we’ve ever encountered.

Éric Montchaud

Eric Montchaud is a director and animator. He creates animations for commercials, short movies and animated series (« Les Kiwis » broadcasted on France TV, « Comme à la maison » broadcasted on Canal+, « Les Grabonautes » broadcasted on TF1…).
In 2002, his first film “L’odeur du chien mouillé” won the “Grand Prix” at the Rencontres Audiovisuelle of Lille (France) and the “Best Design” price at the Black Nights Festival in Tallin (Estonia). The he directed “La petite casserole d’Anatole” which gains numerous awards such as the “Prix du Public” at Annecy in 2014 and a nomination at the Césars 2015.
Finally he also directed “Un Caillou dans la chaussure” in 2020 who go the “Prix Junior Canal+” at the 2021 edition of Annecy Festival.

In the film, Guy asks: "But what can this box be used for?" As a director, how important is it for you to preserve this sense of childhood wonder toward everyday objects?

Éric Montchaud: That was precisely the starting point of the film, rediscovering and developing a sense of wonder when faced with an object we don’t understand. It’s an attitude I always try to preserve. Toward objects, situations, and people. It probably comes from childhood, since my parents are antique dealers, and I’ve been surrounded from an early age by objects whose purpose I didn’t know, leaving room for interpretation. The idea was to appropriate an object, to make the useless useful—much like any artistic project.

“I want to highlight uselessness, daydreaming, and the attachment

to a non-commercial object.”

— Éric Montchaud

From Anatole’s "Little Saucepan" to Guy’s "Box," your work often features characters navigating their world through specific objects. What draws you to these metaphors when communicating with a younger audience?

B.K: I don’t really know why, but I always start from an object or a character when developing my stories. I build and draw without a specific goal, and let the world and the story unfold organically. I feel like this resonates with how children often invent stories from objects. That said, I don’t adopt this approach to appeal to children. It just so happens that what I imagine is often associated with a young audience, but I never make my films with children specifically in mind.

Your films are celebrated for their unique design. For our young viewers (ages 7+), how do you use materials and animation to give a "soul" to a character like Guy?

B.K: I like using raw materials and simple designs for characters and sets. It’s a minimalist approach, both out of necessity and by choice. Ideally, I’d like viewers to feel that they too could create animation, I want to make animation playful and accessible. I encourage imperfections in design, because that’s what makes characters feel “human” and endearing. I always try to stay close to the original, imperfect drawing that serves as the basis for building the puppet.

If you had to give our audience an answer, what does that box represent to you? Is it a barrier, a sanctuary, or a blank canvas for the imagination?

B.K: Everyone can have their own interpretation of the box, which is like an artistic object onto which one can project their imagination. It’s an object that serves no purpose, yet is still essential. I want to highlight uselessness, daydreaming, and the attachment to a non-commercial object.

Trailer

Film aligned with the goals: SDG 4 (Quality Education): Through Psaroloco’s Media Literacy lens, the film fosters critical thinking in young audiences regarding the concept of "utility." It encourages creative problem-solving and open interpretation, teaching children how to reconstruct reality through the power of their own imagination. SDG 12 (Responsible Consumption and Production): By highlighting the value of a "non-commercial," handmade object, the film serves as a counter-narrative to the culture of overconsumption. It promotes an emotional connection with materials and the idea of upcycling—transforming the "useless" into something precious and essential. SDG 3 (Good Health and Well-being): The film emphasizes the importance of daydreaming and internal time as fundamental elements for a child's mental health and development. It defends the right to pause and engage in spiritual or creative inquiry in a world that increasingly demands constant productivity. SDG 10 (Reduced Inequalities): Through its minimalist and accessible aesthetic, the film democratizes artistic creation. It breaks down the barriers imposed by technological complexity, promoting inclusion and the belief that every individual—regardless of means—has the power to create animation and tell their own story.

MEDIA LITERACY INSIGHT

Why "The Box" is a vital case study for our readers:

The Poetics of the "Useless": The film offers a profound lesson in liberating oneself from the utilitarian logic of modern media. It teaches young audiences that the value of an object (or a story) lies not in its commercial use, but in its capacity to serve as a vessel for imagination and emotion.
The Aesthetic of Imperfection: In a world saturated with "polished," digitally perfect graphics, Montchaud highlights the beauty of the flawed and the handmade. The film helps viewers deconstruct the dominance of CGI, drawing their attention to the tactile texture of materials and the authenticity found in "human error."
Appropriation and Redefinition: The film serves as a seminar on how the spectator can become a creator. It challenges the audience to ask: How can we take an existing element of our reality and give it an entirely new, personal meaning? It is an exercise in active viewing versus the passive consumption of prefabricated narratives.
Silence as a Space for Co-creation: Contrasting with the constant audiovisual "noise" of contemporary media, The Box utilizes silence and minimalism to provide the viewer with room to breathe. This void is not a lack of information, but an invitation for the child to "fill" the frame with their own thoughts, enhancing empathy and internal observation.