Sex, religion and envy – how Freud and Jung’s frenetic friendship tore itself apart

In 1906, the young Swiss psychiatrist Carl Jung received a collection of essays from none other than the founder of psychoanalysis himself, Sigmund Freud. When the two met in person a year later in Vienna, their first conversation lasted more than 13 hours, according to Jung’s account. And so began a collaboration that would blossom into an intense, albeit brief friendship between two titans of psychology. The duo toured the US together, giving lectures on psychoanalysis. They analysed each other’s dreams in depth. Twenty years his senior, Freud called Jung ‘the Joshua to my Moses, fated to enter the Promised Land which I myself will not live to see’. Their bond was so deep that at one point Jung wrote to Freud: ‘Let me enjoy your friendship not as one between equals but as that of father and son.’ Despite their shared interests and mutual admiration, in 1913 their relationship abruptly ended. But what caused their dramatic estrangement? And which one can lay claim to greater influence?

Freud versus Jung is the second instalment of ‘Philosophy Feuds’, Aeon’s original series of short animations, each of which tells the story of a famous – or not so famous – spat, break-up, falling-out or fracas. More than just revealing the hilarious and all-too-human pettiness of the world’s greatest thinkers, ‘Philosophy Feuds’ is about the fascinating ideas behind each of these rifts – and how these ideas continue to matter today.

In a remote town near Area 51, UFO believers and locals contemplate the beyond

‘I’ve never seen necessarily an alien but I’ve met some humans that might not be considered born here …’

In June 2019, a prank Facebook event titled ‘Storm Area 51, They Can’t Stop All of Us’ went viral, with some 1.5 million users indicating – ironically or not – an interest in blitzing the famed US Air Force facility in Nevada, long rumoured to contain evidence of extraterrestrial life. By the time the event date arrived in September, most of the world had moved on from the gag. Ultimately, only about 1,500 people descended on the remote Nevada towns around Area 51 – the vast majority of whom had no real designs on storming the facility.

One such attendee was the New York-based filmmaker Scott Lazer, who travelled to the town of Rachel, Nevada, located 27 miles north of Area 51, where a small UFO-themed festival was taking place. There, he found the expected, eccentric collection of UFO diehards recounting sightings and contemplating the nature of extraterrestrial life. But Visitors, his short documentary account of the event, offers more than just an invitation to tour a peculiar subculture. As he interviews true believers and Rachel locals alike, a thread begins to emerge – of people striving to make sense of their place in a strange universe, and seeking connections with something greater than themselves.

The Renaissance art illusion that proved everything is a matter of perspective

By the 16th century, European painters had become masterful at crafting illusions of perspective, giving viewers an impression of lifelike, three-dimensional depth on flat surfaces. Building on this well of Renaissance knowledge, a small handful of artists began pushing linear perspective further still, crafting works that required the viewer to occupy a single vantage point – or series of vantage points – in order to be fully understood. Today, this sort of visual illusion, known as anamorphosis, is responsible for viral internet phenomena such as the 3D street paintings of the Rome-based artist Kurt Wenner. At its inception, however, the technique was used to both provocative and whimsical effect, often adding subversive new meanings to works once revealed. In this short film, the celebrated US animation team Stephen and Timothy Quay, better known as ‘the Brothers Quay’, evoke a dark fairytale with their exploration of the technique, which combines stop-motion puppetry with some notable examples of anamorphosis from the 16th and 17th centuries.

In between chemotherapy, 10-year-old Pien finds kinship with the honeybees she keeps

Pien is 10 and having treatment for cancer. After learning that crop pesticides and other human activities pose a mounting threat to bees and, by extension, the many foods they pollinate – she developed a passion for the creatures and took up beekeeping. Despite occasional stings, she finds a kinship with the insects, which, like her, are small, industrious and fighting for their survival. While her doctors are hopeful that Pien will make a full recovery, her chemotherapy treatments are an unwelcome intrusion on time she’d much prefer spending with her friends and her colony. With atmospheric cinematography and an observational style, the Dutch filmmaker Ellen Vloet’s short documentary Pien, Queen of the Bees is a sweet and touching portrait of childhood – even as weighty challenges for Pien and her hive hover throughout.

Hero or scoundrel? An iconoclastic biography of Winston Churchill

Most mainstream portrayals of Winston Churchill, such as the critically acclaimed film The Darkest Hour (2017), focus on his role in the Second World War, standing tall in the face of potential Nazi obliteration with a combination of brilliant foresight, fighting spirit and soaring rhetoric. While this is, of course, an important part of the celebrated British prime minister’s legacy, the characterisation paints an extremely incomplete picture of his life, leaving out a great number of important, unflattering facts. This short from the UK filmmaker Steve Roberts deploys a combination of claymation and biting iconoclasm to shine a light on the failing-up nepotism, political opportunism and murderous white supremacy that are often glossed over in surface-level treatments of Churchill’s biography.