Moo(n) is about the friendship between a girl and a cow. Their perfect times together are interrupted by a bee and some sneezes. An enforced separation brought about by caring parents pales into insignificance when the cow finds herself on another planet. Getting home to see her friend becomes a ludicrous quest. We discover that friendship can be fickle, actions have consequences, and that hot milk and honey can relieve the common cold.

Moo(n) creates a total bombardment, a fusion of juxtaposed imagery and sentiment—with a strong progression from the childishly naive to the sinister and surreal, the common thread being the bizarre and melodramatic, which necessarily has its own logic. The film is manic and relentless, distorting the usual perception of fairy tales—not delightful, but scary and threatening.

Moo(n) was created by using digital cut-outs in stylized 3D perspective. The scanned-in objects and textures give the scratchily drawn cut-out characters and environments an odd tinge of reality. The technique is heavily reliant on the digital compositing of all of the created components. Scale and perspective are emphasized and manipulated to create extreme emotions and physical movements (for instance, the bee’s head on his fat body looks tiny; the people on the earth’s surface look tiny; the planet in the vast galaxy looks tiny; and so on). Likewise, when the cow consumes large pieces of the galaxy, she and her surroundings spiral wildly out of proportion. The film is in black and white and has the appearance of being an old, badly projected film with an intrinsically creepy yet charming atmosphere. To create depth and evoke mood, lighting is used in a theatrical way. The spot lights and shadows used result in a playfulness with regard to scale and surfaces.

The narration is spoken with a story-telling feel, but is always delivered deadpan, to contrast with the peculiar progression of the on-screen action. The voice is the thread that keeps pulling the structure of the tale back into shape when it seems to be gaining too much momentum. The visuals may appear fragmented and strange at times, but the presence of the authoritative narrator keeps the film grounded.

The treatment of sound uses shifting perspectives in a spatial and subjective way. They can switch very quickly to enhance the surreal and intense flavor of the film. At times, sound and music work closely together so that it is hard to separate what is sound design and what is melody. This is helped by the fact that the music was created by samples of odd bits of junk, not just conventional instruments (the percussion, for instance, by scratching radiators and tapping cake tins).