Avant-folk singer-songwriter Devendra Banhart builds upon his stellar collection of video collaborations with a subversive and moody new piece from rising animator and director Galen Pehrson. Conceived in the tradition of Mondo—the 1960s sub-genre associated with exploitation, death and taboo—Mondo Taurobolium uses the eponymous track “Taurobolium” from Banhart’s latest album Mala as a backdrop. The experimental narrative takes dark and existential turns into the murky underbelly of Hollywood fame and finds the duck-like character Mondo at its center, reeling in a state of disillusionment following a wave of torrential success. Mondo’s counterpart is Gale, voiced by cult favorite Rose McGowan as the beaked female lead who accompanies him through back alleys and night crawls of Los Angeles. “I think it’s easier to trust an animal without scrutinizing its actions,” says Pehrson, who has collaborated with Banhart on the cover of his album Cripple Crow and the video to “I Feel Just Like a Child,” and has recently shot a series of enviable commissions from MOCA, Death Grips, James Franco and Talib Kweli. “I think it’s something we learn while watching cartoons when we’re young. There’s often a moral undertone to them—here, it’s same idea just with more mature and complex topics.” 

Hand-drawn 2D animation is something of a dying art. What inspires you to stay the course?
Galen Pehrson: I enjoy drawing and making little worlds. The passion comes from the feeling of seeing a character come to life, or clouds blowing over a landscape. It’s not a passion reserved for animation but for sharing, creating and collaborating.

Is the process quite drawn out and isolating?
GP: I spend months alone. This piece took four months. I counted something like 2,140 hours. The one day I took off, I ran my car over a boulder. 

What animation directors have inspired you lately? 
GP: I recently discovered Sally Cruikshank—a cab driver turned me on to her work and my mind was blown. I feel like we might be kindred spirits.

What themes do you find yourself exploring over and over again?
GP: I think the biggest theme is nighttime. I work through the night, and there’s a different feeling in the air: a kind of stillness and clarity that I’m grasping at and trying to relay.