This weekend sees the release of The Congress, from visionary director Ari Folman. It’s the Israeli filmmaker’s first feature since his 2008 masterpiece, Waltz with Bashir, but unlike its predecessor, the new film is not a documentary. It’s in English, rather than Hebrew, and stars a handful of recognizable Hollywood actors. It is, to say the least, something of a departure. Yet it shares one very significant piece of DNA with the earlier film: it’s animated, under the leadership of the great Yoni Goodman. A masterpiece, after all, is not always the work of a single genius. Waltz with Bashir may have sprung from the mind of Folman, but the execution owes a great deal to Goodman’s ingenuity, particularly in the pioneering of Adobe Flash cutout animation. It looks like rotoscope, the tracing over live-action footage, but it’s not. This approach to design gave the film its rich style, vividly evocative of forgotten memories and blurred nightmares. Moreover, Goodman’s contribution was more than just the brilliant utilization of a technique. His stylistic vision is consistent across a number of his other accomplishments, though most of them aren’t on the grand scale of his collaborations with Folman. Let’s take a look at three examples, riveting cartoons with an almost eerie beauty.