So much content is now available online, on TV, in theaters, it's easy to miss the brightest examples of storytelling on each platform. With so many beautiful, original, visionary tales in our own library - Amelie, Kill Bill, Cinema Paradiso, Life is Beautiful, it seems fitting to highlight similar work that may get lost in today's over-saturated world of content. Today's focus is on Ari Folmans, The Congress. Watch the stunning trailer.

The Congress is reminiscent of the Being John Malcovich concept, by using a real actor's identity to portray a fictionalized version of themselves. In this bizarre, unique world, Robin Wright is made immortal via animation. Read what Indiewire wrote up about this dazzling new film after last year's Cannes debut.

Words can hardly do justice to the plethora of outlandish visuals populating this ambitious sophomore feature from the Israeli director of Waltz With Bashir, but they're merely one piece of a larger puzzle. Folman's beguiling project amounts to a stinging indictment of mainstream culture's unending commodification. The director spent half a decade assembling his loose adaptation of Stanislaw Lem's science-fiction novel, The Futurological Congress, and the work shows in both its stunning appearance and the extraordinary depth of insight paired with it. Folman uses beauty and wonder as vessels for rage.

Robin Wright and Harvey Keitel are good bets to draw in a more mainstream audience during the film's August release. Wright is on Netflix's hugely successful House of Cards and known for her work in The Princess Bride, Forrest Gump, She's So Lovely and The Crossing Guard.

Keitel's amazing filmography hails back to 1967. Some of his best known work includes Bugsy, Reservoir Dogs, Pulp Fiction, From Dusk Till Dawn, Cop Land and Jane Campion's The Piano.

Congress is Folman's second film. His first, Waltzing with Bashir, was nominated for an Oscar. In an interview with Filmmaker Magazine, Folman talked about his work and gave advice to young filmmakers.

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I think its about persistence, like it always was. Its about persistence and belief, the power of believing in what youre doing, against the world a lot of the time. And originality. So not many people can be filmmakers. I mean sometimes technology makes you think that everybody can pick up an iPhone and make a feature length film, but they cant.

Its a language. I dont see myself as an artist at all. I would never dare to call myself an artist. I like the word craft. I like the word filmmaker. I love it that its craftsmanship. I hope I know how to tell stories with picture and sound. This is craft, combining it together. If you do that, youre fine.

And another suggestion I would have to young people is, forget about the auteur cinema. Forget about the guy who carries the burden: he has to be a writer, he has to be director, he has to raise the money for the project. This is bullshit, you know? You can be a great director and know nothing about writing. The only thing you need to know is how to work with a writer to make his scripts improve.

Here's hoping young filmmakers listen to Folman's advice and go create more beautiful, original, visionary tales, so that audiences have more options than just comic-book blockbusters at the local cineplex.

The Congress opens in theaters, August 29.