This thesis is based on stop-motion animation in experimental film, through visual and technical elaboration. The paper investigates the problem of using stop-animation in experimental film, and the influence of stop-animation on the action and dynamics of the film. The paper investigates about the history of stop-motion animation and experimental film in the world and in our country. In the theoretical part, selected experimental films and stop-motion films, as well as authors, are analyzed. In the experimental part, a short film based on the collected data was made. The process of making one's own film is described, and the influence of the technique itself on the plot and dynamics of the film is examined. Stop-animation is one of the animation techniques. The technique involves photographing a large number of photographs. The subject moves after each shot, and in production, merging the photos creates the illusion of movement. The main characteristic of experimental films, which are often called avant-garde in the literature, is that they do not have strict rules or structure. The plot often has unexpected twists and there is a surprise factor. Sometimes for technical reasons it is not possible to predict how the film will end. The most common link they have is that the director is also a producer, and an editor and cameraman, and that they are low budget. Such a film enables the exploration of ideas and technical possibilities.