withoutu.mp4 (2022)

Siete chicas de instituto ven sus vacaciones chafadas cuando su profesor (Kiyohiko Ozaki) tiene que cancelar el viaje que tenía planeado realizar con ellas. Las cosas marchan incluso algo peor para Oshare (Kimiko Ikegami), una de las chicas, ya que recientemente su padre le ha presentado su nueva madastra (Haruko Wanibuchi), lo que no le ha hecho demasiada gracia. Mirando un álbum de fotos, Oshare se encuentra con la foto de boda de su madre a quien se la ve acompañada de su hermana (Yoko Minamida) quien nunca llegó a casarse ya que su prometido murió en la guerra. Oshare se pone en contacto con su tía y ésta la invita a ella y a sus amigas a pasar las vacaciones en su mansión en el campo. Cuando el grupo de chicas se presentan en la mansión, allí las recibe la tía de Oshare en sillas de ruedas y medio ciega. Muy pronto las chicas descubren que la mansión tiene vida propia.

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.

Un hombre se casa con una mujer, y ésta le es infiel. El hombre, por venganza, la asesina, siendo condenado a muerte... Aclamada película checa por su innovador sistema narrativo: todo el film está rodado al revés, comenzando por final y terminando con el principio, e incluso los diálogos están pronunciados a la inversa.

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?

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.

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?

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.

An oneiric moment in the contradictory sensations that arise when experiencing the COVID-19 pandemic.

Unable to sleep, Mamadou begins to walk nonstop.

An experimental short film by Walerian Borowczyk and Jan Lenica.

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.

Utilising an apparently new-found obsession with the colour red and reinvigorating some of the circular imagery of A Man and His Dog Out for Air and 69, Breer delves into the very basis of animation to explore how a variety of easily recognisable objects can be portrayed and manipulated differently using pixillation and classically drawn animation. -Malcolm Turner

Single frame exposures of dot-screens.

Collected as part of the Fluxfilm Anthology (a multi-reel compendium of 37 short films assembled by Fluxus founder and central operator George Maciunas), One captures the lifespan of a single match recorded at 2,000 frames per second using a 16mm high-speed camera. The frame rate is then decelerated to the standard 24fps for presentation. The film emphasizes each gesture, sway and flare of flame as the small pinewood carrier ignites across the landscape of the filmstrip and screen, signalling the drama and poetics of this ”minor” event before the fire is extinguished. One also stands as an unassuming beacon, immortalizing on film the essence of some of Ono’s early concerns as an artist. At the slightest touch of fire, they burst into flame. Strike everywhere. Strike often.

Short experimental film by Jordan Belson

Tar pits form as petroleum seeps to the surface through fissures in the Earth’s crust, leaving viscous asphalt pools. To make Tar Pits Film, Jennifer West threw a strip of film into the La Brea Tar Pits in Los Angeles, still-bubbling asphalt pools which have seeped from the ground for tens of thousands of years. The film was then ridden over hot asphalt by a motorcycle and drenched in other substances including thick mayonnaise and body lotion.

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.