Spoiler alert. If the plan is still to watch the cartoons Potets, The Adventures of Little Penguin Lolo, Penguins, Merry Tree Friends (banned for distribution in Russia), Wild Planet, Wild Planet, Ferns: The Last Rainforest for the first time, The Complete Sausage, Contact, Soviet Toys, and Fanny’s Pets, readers may want to skip ahead. The following piece discusses these works with vivid spoilers and critical notes.
Potets, Alexander Fedulov (Russia, 1992)
The psychedelic short Potets draws on a poem by Alexander Vvedensky and unfolds from the perspective of a dying father. Its central premise centers on children seeking the meaning of the word potet as they listen to his fading voice. The conclusion presents a stark, unsettling image, inviting reflection rather than simple explanation.
The Adventures of Little Penguin Lolo, Gennady Sokolsky and Kenji Yoshida (USSR and Japan, 1986-1987)
This Soviet-Japanese trilogy follows penguin chicks Lolo and Pepe as they encounter danger at sea. Their journey includes a moment on a poaching vessel where another penguin named Mac is held captive. The escape triggers a chase, and the story intensifies as poachers pursue the flock, underscored by a soundtrack that deepens the dramatic mood.
Penguins, Vladimir Polkovnikov (USSR, 1968)
Another eerie penguin tale centers on a bird who entrusts an egg to a colleague to take a break. The egg is misplaced, replaced by a stone, and the penguin proceeds with a long migration. Along the way, the misplaced egg story culminates in a reflection on responsibility and consequence as the stone becomes a burden.
Happy Tree Friends, Kenn Navarro, Alan Lau et al (US and Canada, 2000-2016)
Note the mature rating for this series, 18+, with distribution restrictions in several regions. Its blend of violence, dark humor, and high-spirited visuals often clashes with expectations from a cartoon aesthetic. Each episode begins with ordinary daily events and ends in calamity, challenging viewers to separate appearance from intent and to consider how humor and horror trade places across scenes.
Wild Planet, René Laloux (France and Czechoslovakia, 1973)
Set on an alien world, this film paints a society marked by class divisions and harsh living conditions. Its surreal imagery, unusual creatures, vibrant color schemes, and dreamlike sequences create a psychedelic atmosphere that invites discussion about social structure, power, and perception in an otherworldly setting.
Fern Valley: The Last Rainforest by Bill Kroyer (Australia and USA, 1992)
The story centers on elves, fairies, and forest beings, with Hexxus as a striking antagonist representing environmental harm. Hexxus appears as a dark, shape-shifting substance that embodies violence and pain. Critics pointed to the film’s stark portrayal of danger in nature and its lasting impact on younger viewers who might carry those images beyond the screen.
All Sausage by Greg Tiernan and Conrad Vernon (US and Canada, 2016)
The feature comedy All Sausage blends slapstick with crude humor as animated products come to life and explore the wider world. The humor leans into adult themes and explicit moments, drawing mixed reactions from audiences and critics who questioned the balance between satire and tastelessness.
Communication, Vladimir Tarasov (USSR, 1978)
The film depicts a cross-species encounter in which an alien observer studies Earth by interpreting human behavior. While some adults can follow the premise, the surreal visuals and an unconventional score add to the sense of strangeness, offering a meditation on perception and communication across cultures.
Soviet Toys, Dziga Vertov (USSR, 1924)
One of the early Soviet cartoons, this story follows a bourgeois figure who indulges in excess and moral decay. A symbolic centaur—composed of peasant and worker—dramatically confronts greed, culminating in a Red Army intervention and a New Year scene where enemies are repurposed as festive “toys.” The piece uses allegory to comment on social dynamics of its era.
Fanny’s Pets, Ryuji Masuda (Japan, 2006)
The opening sequence features a human-faced Moon expelling flying objects toward Earth, leading to chaotic moments for the ensemble of characters. Fanny arrives as a host, and the cast engages in a series of surreal events, including energetic dances and exaggerated action. The work has drawn criticism for its violent moments, stylistic choices, and character portrayal, with viewers noting its unsettling, dreamlike atmosphere and unconventional storytelling.