This is an early, short-and-sweet stop-motion animated film, "Mary and Gretel," which mixes fairy-tale characters from Lewis Carroll (a drunken White Rabbit), the Brothers Grimm (Gretel and bowling dwarfs) and Washington Irving (Rip Van Winkle) within a woodland setting more akin to the Garden of Eden than to Wonderland, as the god-like fairy bestows life upon Mary and Gretel, but banishes them when they pick the forbidden flowers.
More interesting to me than the connection to Genesis and fairy tales here, however, is the reflexivity of the fairy as surrogate animator within the film. Stop-motion animation is the process of bringing life to that which is otherwise inanimate by the filmmakers. The fairy does the same thing in the film, by bringing the lifeless dolls of Mary and Gretel to life, that the animators did to the fairy and every other character in making the film. The fairy as a surrogate storyteller or filmmaker goes as far back as the féeries of Georges Méliès (see his "Cinderella" (1899), "Bluebeard" (1901), or "The Kingdom of the Fairies" (1903), for example). Another early, self-referential stop-motion animated film is "The Cameraman's Revenge" (1912), which includes the making of and screening of itself. It's impressive that these artists not only went to the trouble of the tedious work of the animation, but also constructed intricate narratives.