Sequence 9 (2019)

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.

夏休みを利用しておばちゃまの羽臼屋敷を訪れる“オシャレ”と6人の友人。だがおばちゃまはすでにこの世の人ではなく、戦死した恋人への思いだけで存在し続ける生き霊だったのだ。そして若返るためには少女を食べなければならない。ピアノや時計が少女たちを次々に襲い、羽臼屋敷は人喰い屋敷と化した……。

Takashi Makino’s source of inspiration, our place in the world and the universe, never seems to dry up in view of the never-ending flow of immersive films. Generator may well be the earthiest of his films so far, made as a reaction to the Fukushima disaster. A reality check, but in the world that Makino shows, this can never be achieved without looking inwards too.

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 .

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.

In 1944 Lye moved to New York City, initially to direct for the documentary newsreel The March of Time. He settled in the West Village, where he mixed with artists who later became the Abstract Expressionists, encouraged New York’s emerging filmmakers such as Francis Lee, taught with Hans Richter, and assisted Ian Hugo on Bells of Atlantis. Color Cry was based on a development of the “rayogram” or “shadow cast” process, using fabrics as stencils, with the images synchronized to a haunting blues song by Sonny Terry, which Lye imagined to be the anguished cry of a runaway slave. —Harvard Film Archive

This animated short film attempts to answer the eternal questions, What is dying? and How does it feel? Based on recent studies, case histories and some of the ancient myths, the afterlife state is portrayed as an awesome but methodical working-out of all the individual's past experiences. Film without words.

100 basic images switching positions for 4000 frames.

An experimental short film by Walerian Borowczyk and Jan Lenica.

An animation film, made without the use of a camera, in which "boogie" played by Albert Ammons and "doodle" drawn by Norman McLaren combine to make a rhythmic, brightly colored film experiment. The main title is in eight languages.

Kinoautomat was the world's first interactive movie, conceived by Radúz Činčera for the Czechoslovak Pavilion at Expo '67 in Montreal. At nine points during the film the action stops, and a moderator appears on stage to ask the audience to choose between two scenes; following an audience vote, the chosen scene is played.

「デジモン」シリーズ劇場版第1弾。真夜中のパソコン画面から、奇妙な生き物“ボタモン”がうまれた！不安がる太一をよそに、大喜びの妹・ヒカリ。ボタモンはアグモンへと進化する！そんな時、デジタルモンスターたちの住む、デジモンワールドが出現！そこへ怪鳥型モンスターがアグモンめがけて突進してきた。だがその時、アグモンの体にまた異変が…！超巨大モンスター“グレイモン”への進化が始まった！ぶつかり合う2大モンスター、激しいバトルの行方は!?

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.

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

Via the New York Times: "...a severely obscure meditation on pre-revolutionary Russia in the form of an encounter between a ghost from the past and the ghost's present-day guardian. In fact, the two characters seem to be the shade of Anton Chekhov and the young man who tends a Chekhov museum in the Crimea, though that is never made explicit."

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 a lifeless urban landscape where time itself has stopped its crawl, a mad ballet is commencing and a newly hatched butterfly is about to die.

Short experimental animation.

A synthesized video environment.