From the first manifestations of oddity to utter terror, Limbes (2025) portrays the shift from dream to nightmare. In his first short film, Karl Cannone choreographs the fear of fear itself, drawing on his memories of tormented nights from his youth. The disturbing intrusion of the fantastical into a familiar world, in this instance the misty Hautes-Alpes of his childhood, builds on the legacy of the cinema of magical realism (Alice Rohrwacher and Alejandro González Iñárritu, among others) and Romantic painting. Alone in this oniric space, Casper Tveteraas Hauge performs his own composition, where dance and flight are two complementary ways of dealing with the distress punctuated by Samuel Marot-Saferis' score. The video installation is enhanced by enlargements, displayed at the back of the room, which are obtained directly from the film's 16mm reel. The experimental printing process, carried out in the seclusion of the darkroom, pays tribute to the organic experience of filming and the vital contribution of the collective.‍