The Reality of Karel Appel (1962)

The Short Films of David Lynch (2002) is a DVD collection of the early student and commissioned film work of American filmmaker David Lynch. As such, the collection does not include Lynch's later short work, which are listed in the filmography. The films are listed in chronological order, with brief descriptions of each film. The DVD contains introductions by Lynch to each film, which can be viewed individually or in sequence. # 1 Six Figures Getting Sick (Six Times) # 2 The Alphabet # 3 The Grandmother # 4 The Amputee # 5 The Cowboy and the Frenchman # 6 Premonitions Following an Evil Deed

アナの誕生日の朝。エルサはこの日を完璧な一日にすべく、クリストフたちとともにとびきりのサプライズを準備していた。城中に張りめぐらされた赤い糸をたどっていくと、あちこちにアナへのプレゼントが隠されているという仕掛けだ。誕生日の特別なドレスに身を包み、エルサとアナは糸をたどり始める。だがエルサはどうやら風邪をひいたらしく、くしゃみが止まらない。心配するアナをよそに、ひとり張り切るエルサだった。

風景画家・アイナーは肖像画家である妻に頼まれ、女性モデルの代役を務めたことで、自分の内側に潜む女性らしさに気づく。トム・フーパー監督、エディ・レッドメイン主演によるラヴ・ストーリー。

ストリート・アートについてのドキュメンタリーを制作し始めたロサンゼルス在住のフランス人映像作家ティエリー・グエッタ。ティエリーは覆面アーティスト、バンクシーの存在にたどり着き、取材を始めるが、ティエリーに映像の才能がないことに気付いたバンクシーは、逆にティエリーのドキュメンタリーを自分が監督し始める。

NYの美術館で絵画を観賞中、思いも寄らぬ爆破テロ事件に巻き込まれ、最愛の母を失ってしまった13歳の少年テオ。その後彼は、裕福なバーバー一家のもとに引き取られて新生活を始める一方、爆破テロ事件の際、間近に居合わせた老紳士から託された指輪を届けに行って、骨董商のホービーと知り合う。長らく行方不明だった父親のラリーが不意に姿を見せたことから、テオは、彼やその恋人とともにラスベガスへと移り住むこととなる。

砂漠の都アグラバー。貧しい若者アラジンは、泥棒と間違われていた娘ジャスミンを助け出し、代わりに捕まってしまう。なんとジャスミンは、王宮から抜け出してきた姫君だった。投獄されたアラジンは、王国乗っ取りを狙う大臣ジャファーの策略で、自由と引き換えに魔法のランプを探す旅に出発することになった。洞窟の奥でランプを発見したアラジンが偶然ランプをこすったところ、なんと中からランプの精ジーニーが現われた。

It's 2006, YouTube is in its infancy, and internet porn is still behind a paywall. Taking the stage name Brent Corrigan, a fresh-faced, wannabe adult video performer is molded into a star by Stephen, a closeted gay porn mogul who runs the skin flick empire Cobra Video from his seemingly ordinary suburban home. But as Brent's rise and demands for more money put him at odds with his boss, he also attracts the attention of a rival producer and his unstable lover who will stop at nothing to squash Cobra Video and steal its number one star.

1665年オランダ。失明した父の代わりに家計を支えるため、画家フェルメール（コリン・ファース）の家で使用人として働くことになった17歳の少女グリート（スカーレット・ヨハンソン）。やがて、その美的センスをフェルメールに認められた彼女は、彼の手伝いをし始める。

物語は三島由紀夫最後の一日となる朝から始まり、『金閣寺』『鏡子の家』『奔馬』を劇中劇として見せながら三島の生涯を描いていく。 どもりを持つ学生・溝口は金閣寺はその美しさに見苦しい自分の姿を責め悩み、放火をしてしまう『金閣寺』。容姿端麗で華奢な美青年・治が、最後はマゾヒスティックな狂愛に溺れていく『鏡子の家』。剣道に励む青年が同じ学生仲間とクーデターを決起する『奔馬』。そして、三島由紀夫の最期の瞬間に至る…。

シングルとアルバムの総売上は全世界で３億枚を越える伝説的ミュージシャン、シンガーソングライター“エルトン・ジョン”の半生を描いた話題のミュージカル超大作。

Forced to give up his dreams of art school, Zach works dead-end jobs to support his sister and her son. Questioning his life, he paints, surfs and hangs out with his best friend, Gabe. When Gabe's older brother returns home for the summer, Zach suddenly finds himself drawn into a relationship he didn't expect.

エルサとアナの仲良し姉妹は、幼いころに起きた事件以来、ずっとはなればなれでした。今日は、そんな二人が久しぶりに一緒に迎えたクリスマス。ところが、アレンデール中どの家にもあるクリスマスのならわしが、長い間はなれて育った姉妹には、何もなかったのです。さびしそうな二人のために立ち上がったのはオラフでした。

The Christmas tree isn't the only thing green in this new holiday classic. Shrek is back and trying to get into the spirit of the season. After promising Fiona and the kids a Christmas they'll remember, he is forced to take a crash course in the holiday. But just when he thinks he has everything for their quiet family Christmas just right, there is a knock at the door.

王家の姉妹エルサとアナ。触れるもの全てを凍らせてしまう“禁断の力”を持つ姉エルサは、妹アナを傷つけることを恐れて、幼い頃からその力を隠し続けてきた。だが、エルサが新女王となる戴冠式で、彼女は“禁断の力”を制御できずに夏の王国を真冬に変えてしまう。城から逃げ出した彼女は自分の心と持てる力を解き放ち、雪と氷を操って一人だけの冬の王国を作り上げる。一方、エルサの秘密と思いを初めて知ったアナは、姉と冬に閉ざされてしまった王国を救うため、山男のクリストフとトナカイのスヴェン、“夏に憧れる雪だるま”のオラフと共にエルサが築いた氷の城へ向かう。どうすれば凍りついてしまった心と世界は救えるのか？全世界を席巻した、心揺さぶるミュージカル・ナンバーと圧巻の映像でを描いた感動の物語。

美大に通っているベンはガールフレンドのスージーと別れてはみたものの、未練がましく「やり直したい」と申し出る。しかし、スージーにすでに新しい恋人がいるという事実を告げられベンはショックで不眠症になってしまう。＜一流のファッション雑誌のフォトグラファーとして活躍していたショーン・エリス監督が、まるでファッション写真が動き出したかのような美しい映像で見せるラブストーリー。主演に『ハリー・ポッター』シリーズでクィディッチのキャプテンを演じ注目を集めた、ショーン・ビガースタッフ。ヒロインに『戦場のピアニスト』でその存在感を見せつけたエミリア・フォックス。“時間は意識の中で延びたり、縮んだりする”という主人公の回りの時間をフリーズさせて撮った映像は、リアルでありながら幻想的。＞

On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman.

悪と戦い、人々を守ってきたヒーロー達だったが、驚異的なパワーに非難の声が高まり、彼らはその活動を禁じられていた。そんなある日、かつてヒーロー界のスターだったボブとその家族のもとに、復活をかけたミッションが舞い込むが、ミッションを任されたのは妻のヘレンだった。留守を預かることになったボブは、慣れない家事・育児に悪戦苦闘する。しかも、赤ちゃんジャック・ジャックの驚きのスーパーパワーが覚醒してしまう。

Your favorite Madagascar pals are back in an all-new adventure! Alex's favorite holiday, Valentine's Day, brings hilarious surprises and excitement for the entire gang. Melman plans a big surprise for Gloria, Marty tries to impress a new friend and everyone wants to get their hands on King Julien's love potion. You'll fall in LOVE with Madly Madagascar!

田舎町に暮らす11歳の女の子ライリーは、父親の仕事の影響で都会のサンフランシスコに移り住むことになる。新しい生活に慣れようとするライリーの頭の中では、ヨロコビ、カナシミ、イカリ、ビビリ、ムカムカたちが、ライリーの幸せのためという強い気持ちが原因で衝突していて……。〈11歳の少女の頭の中を舞台に、喜び、怒り、嫌悪、恐れ、悲しみといった感情がそれぞれキャラクターとなり、物語を繰り広げるディズニー/ピクサーによるアニメ。田舎から都会への引っ越しで環境が変化した少女の頭の中で起こる、感情を表すキャラクターたちの混乱やぶつかり合いなどを描く。メガホンを取るのは、『モンスターズ・インク』や『カールじいさんの空飛ぶ家』などの監督ピート・ドクター。〉

Set during a long, hot summer on the Thamesmead Estate in Southeast London, three teenagers edge towards adulthood.

"The strangeness of this film is laced with carefully moulded apocalypses as the filmmaker explores a vision of life beyond death – the Elysian fields of Homer, Dante’s Purgatorio, de Chirico’s stitched plain. A moving single picture. Evolving the structure or script for the film involved a process of controlled hallucination, whereby I sat quietly without moving, looking at the background until the pieces began to move without my inventing things for them to do. I found that, given the chance, they really did have important business to attend to, and my job was to furnish them with the power of motion. I never deviated from this plan." —Canyon Cinema

Commissioned by the San Francisco Mime Troupe as a short to be screened during intermission for its rather infamous 1965 Minstrel Show (Civil Rights from the Cracker Barrel), which assaulted racial stereotypes by wildly exaggerating them. Scored by Steve Reich.

Breer's earliest experiments in animation are wonderfully dense yet lyrical abstractions based on Breer's own geometric paintings. - Harvard Film Archive

“Freud established that jokes were structurally akin to dreams in their use of condensation, displacement, representation by opposites, punning and ‘nonsense’. All of these strategies are much in evidence in (Land’s) marvelously duplicitous ON THE MARRIAGE BROKER JOKE… [...] so clever and original a filmmaker as to make most others – not to mention his critics – seem flat-footed by comparison. ON THE MARRIAGE BROKER JOKE harks back to Bunuel’s early work. Not only is it structured like a dream and filled with sexual imagery, but like Un Chien Andalou, it smacks of being an insider’s joke played upon the avant-garde. Where Bunuel used the insights of psychoanalysis to satirize Christianity, Land– with an almost equal perversity – reverses the process and uses Christianity to send up Freud.” – J. Hoberman, American Film

Sadomasochistic images of self-mutilation.

A young man desperately seeks out the fleeting image of a female companion, and though he never quite catches her, he discovers much more through the surreal explorations of his own sexuality.

A documentary of an avant-garde theatre performance, presents an orgiastic rite of sex, degradation, and bloody sacrifice, performed by Zero-Jigen.

"A film portrait cut to the tune of Conway Twitty's version of 'Mona Lisa.' Filmed in part at a 1964 show of Conner's artwork in San Francisco, the film is also a witty statement about forces that take the life out of art. Vivian Kurz, the subject of the film, is entombed in a glass display case." - Judd Chesler Award: Gold Medal Award, Sesta Biennale D'Arte Republica Di San Marino. Da Vinci thought he caught her smiling.

Short film of 7 sections with each one using a different experimental film technique.

A darkish journey down memory lane, to visit some news events, folkways and thought patterns associated with the late forties and early fifties. The film is also concerned with such perceptual phenomena as color-space, "false tones" caused by varying black-white alternations of simultaneously seen rhythms set up by multiple repetitive actions, and the use of image outlines as "containers" for other imagery. Sort of a working notebook, which is continued in EASYOUT and DOWN WIND.

One of the few Brakhage films featuring spoken dialogue and a central character, this sly and bitter polemic pits an actor (poet? director?) against an unseen audience.

[A] cautionary tale about past-their-prime thespians caught up in a typically Kucharian vortex of madness. - Anthology Film Archives

Although best known for his photography, Steven Arnold also wrote, designed, and directed several groundbreaking visionary films, The Liberation of Mannique Mechanique being the first. Stuart Comer of the Tate Modern (London) said of Mannique: “a macabre, decadent work presenting mannequins and models that travel through strange universes toward possible self-discovery.” Brooklyn-based artist and writer Kate Wadkins in a recent online article observed: “Arnold’s films are dream-like visions of androgynous beings. Their narratives are modern-day fairy tales and reveries about gender — all through the lens of an acid trip.”

“The Riddle of Lumen” presents an evenly paced sequence of images, which seem to follow an elusive logic. As in “Zorns Lemma” the viewer is called upon to recognize or invent a principle of association linking each shot with its predecessor. However, here the connection is nonverbal. A similarity, or an antithesis, of color, shape, saturation, movement, composition, or depth links one shot to another. A telling negative moment occurs in the film when we see a child studying a didactic reader in which simply represented objects are coupled with their monosyllabic names in alphabetical order. –P. Adams Sitney

A film exploration of the work and aesthetic concepts of Yayoi Kusama, painter, sculptor, and environmentalist, conceived in terms of an intense emotional experience with metaphysical overtones, an extension of my ultimate interest in a total fusion of the arts in a spirit of mutual collaboration. —Jud Yalkut

Fascinating -- and unintentionally funny -- experiments at Austria's famed Institute for Experimental Psychology involve a subject who for several weeks wears special glasses that reverse right and left and up and down. Unexpectedly, these macabre and somehow surrealist experiments reveal that our perception of these aspects of vision is not of an optical nature and cannot be relied on, while the unfortunate, Kafkaesque subject stubbornly struggles through a morass of continuous failures.

A soundless mix of story fragments and images. Initially, images of death, a man with a guitar, a soirée. Some images are surreal: an older woman eats a leaf; a headless man pours a cocktail into his body.

The final Duplicity film does seem at resolve with the term. All previous visual manifestations have been extended to their limits, through four-roll superimpositions. Obvious costumes and masks. Drama as an ultimate bid for truth, and totemic recognition of human and animal life-on-earth dominate all the evasions a duplicity otherwise affords.

In this haunting but lyrical meditation on war, Brakhage intercuts 8-mm footage of Colorado with imagery from WWII newsreels. He responds to the violence and nightmare of war by painting directly on the filmstrip.

Poems narrate four afternoon vignettes; each protagonist is older than the one in the previous sketch.