24歳のOLヨシカは10年前から、地方にある地元中学で出会った同級生イチに好意を抱いているが告白できず、今も彼を忘れられない。そんなヨシカは自分が経理の仕事をしている現在の会社で営業の仕事をしている同期のニから告白されてまんざらでもないが、むしろイチが今何をしているかが気掛かりに。そこでSNSを通じ、中学の同級生のうち上京したメンバーを集めて同窓会を開き、そこでイチと再会することに成功する。
In this surrealistic and free-form follow-up to the Monkees' television show, the band frolic their way through a series of musical set pieces and vignettes containing humor and anti-establishment social commentary.
The film tells a story of Mariana, a nurse who leaves Lisbon to accompany an immigrant worker in a comatose sleep on his trip home to Cape Verde. The devoted Portuguese nurse took a journey only to find herself lost in abstract drama.
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.
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 cartoon detailing the unrequited love that the line has for the dot, and the heartbreak that results due to the dot's feelings for the lively squiggle.
Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.
Music: Carl Stone. Colored pen-and-ink drawings, like topological maps of biomorphic objects, grow and evolve from the red star. Once the master image is formed, this continuously throbbing, pulsating sight is used to ring changes based on years of optical work. Music and picture work together to create a mood of ecstatic tranquility. The bright colors, beautiful music, surprise at the end, etc. make this a good film for young children. Awards: Sinking Creek Film & Video Festival, 1973; Washington National Student Film Festival, 1974; Brooklyn Independent Filmmakers Exposition, 1974; Vanguard Int'l Competition of Electronic Music for Film, 1974; Humboldt Film Festival, 1974.
This film, photographed in London, is an exploration into the depths of unconscious reactions.
Man's rebellion against the world of the digits.
A live action footage of a smiling, bespectacled (presumably) Western tourist set against the familiar cadence of an accelerating train revving up as it leaves the station sets the mesmerizing tone for the film's abstract panoramic survey of an Ozu-esque Japanese landscape of electrical power lines, passing trains, railroad tracks, and the gentle slope of obliquely peaked, uniform rooflines as Breer distills the essential geometry of Mount Fuji into a collage of acute angles and converging (and bifurcating) lines .
Animation using cutout animation to craft a bizarre science fiction experiment. Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery.
Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.
#23.2 Book of Mirrors deals with the multiplication of light beams through mirrors and kaleidoscopes.
Here the artist creates a world of color, form, movement and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) are subject to any conceivable interrelation and modification.
A visualizer for Phoebe Bridgers' Copycat Killer EP, featuring four songs originally released on the Grammy-nominated album Punisher, with new orchestral instrumentation and arrangements by Rob Moose.
Early Abstractions is a collection of seven short animated films created by Harry Everett Smith between 1939 and 1956. Each film is between two and six minutes long, and is named according to the chronological order in which it was made. The collection includes Numbers 1–5, 7, and 10, while the missing Numbers 6, 8, and 9 are presumed to have been lost.
A young woman wakes up to a new morning.
The Goal Is To Live is an infinitely-looping assemblage constructed out of repurposed content from the popular show How It’s Made, which chronicles the factories that create everyday objects. The film takes Dina Kelberman’s practice of accumulation and recontextualization into a large-scale time-based work for the first time. Reorganizing short clips into a long Rube-Goldberg-like narrative, and featuring a hypnotic minimalist soundtrack by Rod Hamilton and Tiffany Seal, the film portrays a mesmerizing and surreal process in which materials are transformed in myriad ways.
We watch white shapes dancing on black background, which changes when the white shape fills up the screen completely, and black lines and figures bounce around on the now white background.
