An American March (1941)

Hot Breath Harry is a hot trumpeter at a jazz club. He finds himself drafted into the Army, where he's assigned to be the bugler of an African-American company. But everyone hates the bugler, because he blows reveille at the ungodly hour of 5 AM sharp.

Two rivals for Mabel's hand play a series of dirty tricks on each other. Finally, one of them gets Mabel alone and is about to marry her, but his rival comes up with a strange scheme to stop them. Soon the Keystone Kops arrive on the scene, and chaos quickly ensues.

As the paramedics pry her hand apart from her dead lover's grip a woman's life flashes before her eyes. Racing to the hospital the stunning skies and rooftops of Montreal from the back of the ambulance are inter-cut with the most exquisitely cinematic memories.

A mischievous errand boy, sent out on a delivery, causes havoc in the streets of Hove. When he arrives back at the shop, he finds all his furious victims are already there complaining to the grocer -- and the chase is on!

An animated visual interpretation of the song "Autobahn," by German electronic pioneers Kraftwerk. A fast-paced experimental film which proved to be a groundbreaking combination of electronic and manual animation. One of the first films produced specifically for video disk.

A small girl makes her living selling matches on the streets of New York. It's winter, and the hustling crowds at best ignore her, and some are outright rude. She takes shelter and, to try to stave off the cold a bit, lights a match. It gets blown out; this happens again, then on the third try, she falls into a dream. In this dream, cherubs attend her, she gets a new doll, then a new dress. The cherubs put her on a throne. Then a storm comes, and she goes toward a candle. That candle goes out, and we see that back in the real world, so did her match and her life. An angel comes along and takes her soul.

A nude couple pose in an art studio on a square rug, while the camera does a circular traveling around them; the woman has her right knee on the floor and her right arm raised in front of her face, holding the man's thighs with her right, while the man is bent forward, as if looking in the distance.

Award winning animated short film by Fyodor Khitruk.

Souvenirs, memories, nostalgia, alienation, the ephermal quality of life ...these are the subjects of this animated diary. The film is not made in the usual way (screenplay, storyboard) and was born at the moment when the author sat at his desk and began animating.

Surrealist experimental film in which a foreign secret agent called "El Gringo", investigates the presence of radioactivity in some lobsters caught in a fishing village in the Caribbean. While taking a break at the hotel, a cat steals his lobster.

On the day of Fadinard's wedding, his horse eats a lady's hat on a bush at the roadside, while the lady is hidden behind the bush with her lover Lieutenant Tavernier. Because she is married, she cannot return home hatless without being compromised, and Tavernier orders Fadinard to replace the hat with one exactly like it - or else he will wreck his new home. In an elaborate sequence of complications, Fadinard tries to find a hat while keeping to his marriage schedule

This short film made by László Moholy-Nagy is based on the shadow patterns created by his Light-Space Modulator, an early kinetic sculpture consisting of a variety of curved objects in a carefully choreographed cycle of movements. Created in 1930, the film was originally planned as the sixth and final part of a much longer work depicting the new space-time.

This film is a documentary about the poet Leopoldo Panero. His widow and his sons talk about death in general in this special case, and also about their own family problems.

The images comprise only of material Sergei Loznitsa found in the Moscow film archives about the siege of Leningrad during the World War II. By providing the originally silent images with a meticulously reconstructed soundtrack, the scenes from everyday life under siege seem to be set in the present. By not intervening in the montage but giving the scenes room to tell a story, the scenes transcend the specific historic events and lead a new life. They do not evoke memories of the past, but become a breathtaking reanimation of reality.

This film was reconstructed and completed in 1995 by Javier Codesal for the Filmoteca de Andalucia, from the montage and the sound that Val del Omar had outlined before his death, after having returned to a project abandoned twenty years before with the incorporation of significant additions (above all in the soundtrack). Val del Omar's notes show that, as he typically did, he had other alternative titles in mind, such as "Acariño de la Terra Meiga" (Caress of the Magic Land), "Acariño a nosa terra" (Caress of Our Land), or "Barro de ánimas" (Clay of Souls), and that in the final phase of the unfinished project he wanted to add a second sound channel – following the diaphonic principle, and using electro-acoustic techniques – consisting of ambient material that he intended to record at the first screenings of the film in the very places and to the very people that were its origin: its "clay".

Between a wave’s rhythm and the breath of a young woman in her sleep, some animated paintings go on modifying each other.

This first true Czech avant-garde film turns away from a purely celebratory approach to the city. The camera follows a detached protagonist on his wanderings, as his highly subjective journey becomes a fragmented visualization of urban landscapes.

Mercedes (Marga Lopez) dances for money with the clients of Salon Mexico, a famous cabaret in Mexico City. Her younger sister Beatriz (Derbez) studies in an expensive private school, paid by Mercedes. Obviously, young Beatriz doesn't know about her sister's job. Troubles begin when Mercedes wins a danzon contest with Paco (Acosta), her pimp. Paco refuses to share the prize with Mercedes, so she steals the money when he's sleeping.

This joyful short animation features a dancing hen that transforms into an egg. The film was made without a camera by Norman McLaren, who drew directly onto 35 mm movie stock with ordinary pen and ink. Colour was added optically.