A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.
Social & External
To find Ilona and unlock the secrets of her disappearance, Karas must plunge deep into the parallel worlds of corporate espionage, organized crime and genetic research - where the truth imprisons whoever finds it first and miracles can be bought but at a great price.
This visual poetry is a celebration of the full spectrum of womanhood, from the complex vulnerability to the hidden power.
Cyborg detective Batou is assigned to investigate a series of murders committed by gynoids—doll-like cyborgs, which all malfunctioned, killed, then self-destructed afterwards. The brains of the gynoids initialize in order to protect their manufacturer's software, but in one gynoid, which Batou himself neutralized, one file remains: a voice speaking the phrase "Help me."
In this mesmerizing experimental film, a Stephen King television movie is compressed and transformed through hypnotic black and white collage animation that meticulously reconstructs and reshapes its supernatural drama to an eerie and profound effect.
The second essay about still dominant dark aspects of our modern society. It is conceived as a surreal anti-patriarchal thought experiment and raises important questions about gender, power, and social change, prompting us to reflect on how historical patterns of discrimination and oppression might be either repeated or overcome in a reversed gendered world. It challenges the viewer to confront their own assumptions and biases, and to consider the possibilities of a more equitable society.
From Malkuth to Kether and back, the whole spin of the wheel. A retelling of a series of dreams and visions experienced by the director in her Great Quest.
A film in which the one 60-story skyscraper that soars in the spaces between roofs spins with incredible speed. I centered the circumference with its 400 or 500 meter radius on the skyscraper and divided it into 48 sections, then took photographs from those spots and shot the photographs frame by frame.
This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.
This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.
An abstract animated film inspired by the work of jazz musician Chico Hamilton.
Meet Dee Laytner and his half-Japanese partner, Ryo McLane, a pair of detectives from New York. Not only are these two always chasing down criminals, but Dee can't stop himself from trying to 'chase' Ryo. While on a trip to England, Dee hopes to make his feelings for Ryo known but uninvited guests and a string of murders gets in the way. The pair become involved in the local crime scene when Japanese Americans start turning up dead. Will Ryo be in danger?
Creating a universe between two small pieces of Cardboard. When Jack and Jill of Cardboard City are separated by Jill's torrid illness, Jack must think outside the box to assure they will be together again.
A room-scale VR creative documentary that uses multi-narrative and volumetric live capture to take the viewer on a journey into the mind of Lisa as she remembers her lost love, Erik. Within an empty void, fragments of past memories appear of their life together.
Shapes projected onto an abstract environment. The movement and scale of the forms in the film is a beautiful equivalent of the dynamics of the soundtrack
In a gargantuan city lurking in the sky, powerful immortals who have become jaded with eternal life. Most of their time is spent monotonously constructing bizarre and unusual objects while waiting for the ultimate gift to arrive.
The year is 2001 and the criminals have taken over Centinel City. The Police have lost control. The citizens are terrified... and no one can stop the madness. Even the Techno Police, a special anti-crime squad, find the situation hopeless until a wise cracking cop with an uncanny knack for out-guessing the criminals joins the force. When a powerful experiment tank is hijacked, the Techno Police and their newest recruit go to work. Equipped with an ultra-sonic car and crime-fighting Technoids, the rookie cop sets out on a death defying high-speed chase through the streets... trying to capture the crooks and trying to stay alive. But no one is aware of the awesome powers about to be unleashed.
Abstract animation assembled from newspapers.
A porcelain doll’s explorations of a dreamer’s imagination.
The film was produced applying mixed techniques on Super 8 film support.
The first part depicts the heroine's toothache consequent to the loss of a very valuable watermelon, her dentistry and transportation to heaven. Next follows an elaborate exposition of the heavenly land, in terms of Israel and Montreal. The second part depicts the return to Earth from being eaten by Max Müller on the day Edward VII dedicated the Great Sewer of London.
Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.
This is a hand-painted film which has been photographically step-printed to achieve various effects of brief fades and fluidity-of-motion, and makes partial use of painted frames in repetition (for "close-up" of textures). The tone of the film is primarily dark blue, and the paint is composed (and rephotographed microscopically) to suggest galactic forms in a space of stars.
In this powerful abstract film with a soundtrack of African drum music, Lye scratched "white ziggle-zag-splutter scratches" on to black leader, using a variety of tools from saw teeth to arrow heads. The first version of the film won a major award at the International Experimental Film Festival Held in Brussels in 1958 in association with the World's Fair. Stan Brakhage described the film as "an almost unbelievably immense masterpiece".
A static camera observes a room as it slowly fills with thirty-six characters from different stages of life, looping further through an absurd dance of social disconnection as each character moves in.
A playful exercise in intermittent animation and spasmodic imagery. Playing with the laws relating to persistence of vision and after-image on the retina of the eye, McLaren engraves pictures on blank film creating vivid, percussive effects.
A visual representation, in four parts, of one man's internalization of "The Divine Comedy." Hell is a series of multicolored brush strokes against a white background; the speed of the changing images varies. "Hell Spit Flexion," or springing out of Hell, is on smaller film stock, taking the center of the frame. Montages of color move rapidly with a star and the edge of a lighted moon briefly visible. Purgation is back to full frame; blurs of color occasionally slow down then freeze. From time to time, an image, such as a window or a face, is distinguishable for a moment. In "existence is song," colors swirl then flash in and out of view. Behind the vivid colors are momentary glimpses of volcanic activity.
A creation myth realized in light, patterns, images superimposed, rapid cutting, and silence. A black screen, then streaks of light, then an explosion of color and squiggles and happenstance. Next, images of small circles emerge then of the Sun. Images of our Earth appear, woods, a part of a body, a nude woman perhaps giving birth. Imagery evokes movement across time. Part of the Dog Star Man series of experimental films.
Something is about to change drastically, and the only thing to do is to witness it.
A boy walks down the street and as he goes along his strides increase. Eventually he leaps over towns, forests, and oceans, seeing many things and surprising many people along the way.
In this extraordinary short animation, Evelyn Lambart and Norman McLaren painted colours, shapes, and transformations directly onto their filmstrip. The result is a vivid interpretation, in fluid lines and colour, of jazz music played by the Oscar Peterson Trio.
I made this film especially for you. I needed to check in with you. I needed to tell you how I feel.
An elegant and humorous film—in the guise of a serious anthropological treatise—spotlights "The Perfect Human," a model of the modern Dane created by our wishful thinking.
In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?
Animated shapes dance to Cuban music. This was one of the first animations to be painted directly onto the film.
A nameless drifter navigates a barren landscape punctuated by satellite dishes, radio towers and droning airplanes. Stopping periodically in anonymous hotel rooms, she makes attempts to connect to an unidentified second party.
Short film to a song of love lost and rediscovered, a woman sees and undergoes surreal transformations. Her lover's face melts off, she dons a dress from the shadow of a bell and becomes a dandelion, ants crawl out of a hand and become Frenchmen riding bicycles. Not to mention the turtles with faces on their backs that collide to form a ballerina, or the bizarre baseball game.
All alone, Yellow Guy tries to stop a lamp from teaching him about dreams. While Red Guy finds out the truth about the puppets' existence.
A collection of 24 short four-and-a-half minutes films inspired by still images, including paintings and photographs. An experimental project made by filmmaker Abbas Kiarostami in the last three years of his life.
Three surreal depictions of failures of communication that occur on all levels of human society.
Step back into the imaginative and frankly terrifying world of Becky & Joe with Don’t Hug Me I’m Scared. In this episode: Some things change over Time.
