If you recognize the name Don Hertzfeldt, then congratulations are in order, for you are a decidedly cool individual.

If you don’t recognize the name Don Hertzfeldt, then congratulations are still in order, because you have some amazing film-watching experiences ahead of you.

For the last 30 years, Hertzfeldt has been pushing the boundaries of avant-garde animation with his seemingly-simple-yet-absurdly-ambitious short films such as “Rejected,” “The Meaning of Life” and his “World of Tomorrow” series. His ultimate triumph remains his feature film “It’s Such a Beautiful Day,” which I contend to be one of the greatest feats of cinema that I’ve so far come across.

Stick figures have been Hertzfeldt’s utensils of choice, classical music his tableware, and deeply bleak comedy his garnish atop profound dishes of intimately scrutinized human consciousness. This remains the case with Hertzfeldt’s latest offering, a 20-minute short simply titled, “Me”.

It’s difficult to describe “Me” in terms of narrative, as the film is initially abstract even when compared to Hertzfeldt’s other works. I can say this much, though: “Me” centers on a family torn apart by a generational, narcissistic trauma which causes them to ignore the complete devolution of society around them. There’s also a very strange baby, a form of time travel, and…well, I’ll let you discover her for yourself.

“Me” opens incredibly propulsive, throwing an audience from new idea to new idea as the music beats them forward.

The depictions of violence and vanity are comical, horrifying, and one wonders if Hertzfeldt has fully forsaken any modicum of hope for us. But halfway through, Hertzfeldt slows down, and literally turns inward — the effect is haunting and undeniably beautiful.

I wish I had wise things to say about “Me” because the film warrants thorough analysis and wide interpretation.

However, I just keep coming back to a single image: a black hole crying, only to have its tear be pulled back in by its own crushing gravity. The desire to be acknowledged as one who sees the harm being done to them is conveyed so powerfully: we cannot let our encouraged incubation keep us from reaching out to others.

By the end of “Me,” a complete deconstruction of both world and narrative leaves the viewer broken, hopefully ready to rebuild, and itching to track down the film’s soundtrack.

“Me” is available to rent online, where many of Hertzfeldt’s films are available for free.