Entangled as Species (2022)

Hoping to find a sense of connection to her late mother, Gorgeous takes a trip to the countryside to visit her aunt at their ancestral house. She invites her six friends, Prof, Melody, Mac, Fantasy, Kung Fu, and Sweet, to join her. The girls soon discover that there is more to the old house than meets the eye.

Through the passage of the hours, water evaporates at the same time as signals catch a sight of their previous state. Within this outflowing recording, every light reading is a dedication to a single wandering soul.

A musical horror story about two young women who are stalked through a shopping mall by a cannibal. He follows them home, and here the victims become the aggressors.

Consistent stylistic-thematic structures link and merge throughout the bewildering event chain. The distinction between organic forms and human artifacts is blurred by the visual style which is enigmatic without being ambiguous.

Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film.

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?

A dark comedy about a murder and its consequences presented in a backwards manner, where death is actually a rebirth. The film starts with an "execution" of the main protagonist and goes back to explore his previous actions and motivations.

After a catastrophic global war, a young filmmaker awakens in the carnage and seeks refuge in the only other survivor: an eccentric, ideologically opposed figure of the United States military. Together, they brave the toxic landscape in search of safety... and answers.

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.

Experimental film consisting of a single static shot of the Empire State Building from early evening until nearly 3 am the next day.

100 basic images switching positions for 4000 frames.

A winged creature begins the precarious return from the city to the forest. There she will meet a group of mysterious beings who guide her to the heart of the forest. Step by step, they push her to transform, to leave herself behind. What happens when you decide to return to the forest?

In the 1970s, Director Kim is obsessed by the desire to re-shoot the ending of his completed film Cobweb, but chaos and turmoil grip the set with interference from the censorship authorities, and the complaints of actors and producers who can't understand the re-written ending. Will Kim be able to find a way through this chaos to fulfill his artistic ambitions and complete his masterpiece?

Animator Ryan Larkin does a visual improvisation to music performed by a popular group presented as sidewalk entertainers. His take-off point is the music, but his own beat is more boisterous than that of the musicians. The illustrations range from convoluted abstractions to caricatures of familiar rituals. Without words.

Begins with a picture of Marilyn Monroe, then shifts to a female body, shot from belly button down, which is wriggling under piles of cellophane.

Abstract shapes morph in and out of focus.

Overripe with psychosexual poetry and stark, oneiric rituals, Adachi's filmmaking debut, made while he was still an undergraduate, counts among the more resonant accomplishments of the now famous Nihon University Film Club. Adachi's obvious fascination with the wide-eyed watchfulness of childhood and the uncanny is an expression of the important surrealist strand running throughout the post-WWII Japanese avant-garde. - Harvard Film Archive

"Lost in the Black Hole" is Bangladesh's first-ever symbolic cult horror short film, where the director/artist has experimented on the five metaphoric characters to represent the various meanings of things through expression, symbolism, and numerology.

Bradley Eros is at the forefront of the NYC underground and experimental cinema movement, blending the boundaries of experimental film, expanded cinema, and performance art. Whether it be by himself or through one of his many collaborative groups, Eros reutilizes the visual language we all know in a sensory engaging and thought provoking way. Experience Eros and the Optipus Group collaborate on a piece that celebrates the life and death of celluloid.