Mail Early (1941)

Bitter and hateful, the Grinch is irritated at the thought of a nearby village having a happy time celebrating Christmas. Disguised as Santa Claus, with his dog made to look like a reindeer, he decides to raid the village to steal all the Christmas things.

日々繰り返される祭りの準備に憂鬱なハロウィンの王様ジャックは、ある日、偶然クリスマスの世界へ迷い込む。その華やかさに魅了された彼は、ハロウィン風クリスマスの計画を思いつく。しかし、サリーはそんなジャックを心配している。

On Christmas Eve, divorced dad Scott Calvin and his son discover Santa Claus has fallen off their roof. When Scott takes the reins of the magical sleigh, he finds he is now the new Santa, and must convince a world of disbelievers, including himself.

サンタクロースの息子で次男坊のアーサーは、誰よりもクリスマスを愛しているが不器用で、今は手紙係としてサンタ宛ての手紙を読み、心をこめた返事を書いていた。そしてクリスマスイブの日。英国のコーンウォール州の小さな町、トレルーに住むグウェンという女の子がリクエストしたピンクの自転車が、ラッピング担当の妖精ブライオニーのミスで配達されていないことが分かる。アーサーは彼女に自転車を届けるため出発する。

エベニザー・スクルージ（ジム・キャリー）は、部下の事務員（ゲイリー・オールドマン）や甥（コリン・ファース）に怒鳴り散らし、クリスマス・イブの日も、周囲に温かい言葉ひとつかけることもなく、金勘定に勤しんでいた。しかし、クリスマスの精霊が彼の目の前に現れ、自分の過去、現在、未来を巡る旅へと連れ出され、埋もれた真実を知っていく。そしてスクルージは、嫌われ者だった自分を見つめ直し、心を開こうとする…。

今年は恒例のクリスマスパーティーをしないと決めたクランク夫妻。ツリーもなし、飾りつけもなしと決め込んだ2人に、近所の風当たりは強くなっていき...。

Howard Langston, a salesman for a mattress company, is constantly kept busy at his job, disappointing his son. After he misses his son's karate exposition, Howard vows to make it up to him by buying an action figure of his son's favorite television hero for Christmas. Unfortunately for Howard, it is Christmas Eve, and every store is sold out of Turbo Man. Now, Howard must travel all over town and compete with everybody else to find a Turbo Man action figure.

世界で最もクリスマスを愛している街フーヴィル。そんなフーヴィルに再びクリスマスの季節がやって来た。街中がクリスマス気分で大騒ぎとなっている中、ただ一人クリスマスを嫌う人物がいた。クランベット山に住むいたずら好きでひねくれ者の男グリンチだ。ルー・フーの娘シンディはそんなグリンチのことが気になっていた。そしてある日、シンディは地下室でグリンチに出会う。

ニューヨークのデパートで、サンタクロースとして雇われた白ヒゲの老人クリス・クリングル。クリングルのサンタは評判を呼ぶが、彼は「自分は本物のサンタだ」と主張し、ついには裁判が開かれる――

Better watch out! The big guy in red is coming to town once again. This time, Scott Calvin -- also known as Santa Claus -- finds out there's an obscure clause in his contract requiring him to take on a wife. He has to leave the North Pole to fulfill his obligations, or else he'll be forced to give up his Yuletide gig.

When young Buddy falls into Santa's gift sack on Christmas Eve, he's transported back to the North Pole and raised as a toy-making elf by Santa's helpers. But as he grows into adulthood, he can't shake the nagging feeling that he doesn't belong. Buddy vows to visit Manhattan and find his real dad, a workaholic publisher.

Little Billy witnesses his parents being brutally murdered by Santa. Years later, when he has to fill in for an absent in-store Santa Claus, his childhood trauma materializes once again.

Determined to unseat Steve Finch's reign as the town's holiday season king, Buddy Hall plasters his house with so many decorative lights that it'll be visible from space! When their wives bond, and their kids follow suit, the two men only escalate their rivalry - and their decorating.

Kris Kringle's daughter, Noelle, sets off on a mission to find and bring back her brother, after he gets cold feet when it's his turn to take over as Santa.

When his dysfunctional family clashes over the holidays, young Max is disillusioned and turns his back on Christmas. Little does he know, this lack of festive spirit has unleashed the wrath of Krampus: a demonic force of ancient evil intent on punishing non-believers.

ロンドンの新聞社に勤めるアイリスは、元恋人の婚約発表現場に居合わせることになり、ショックで落ち込んでいた。一方、ロサンゼルスで映画の予告編製作会社を経営するアマンダは、同棲中の恋人と派手にケンカ別れしたばかり。それぞれ傷心を抱えた2人は、“ホーム・エクスチェンジ”のwebサイトを介して知り合い、クリスマスホリデイ期間だけお互いの家を交換して、異国の地で心のリフレッシュを図ることにする。

An escaped maniac returns to his childhood home on Christmas Eve, which is now a sorority house, and begins to murder the sorority sisters one by one.

クリスマス近いゴッサムシティ。市民は謎の怪人ペンギンの出現に戦慄していた。一方、市の電力を独占しようとたくらむ実業家マックスは、秘密を知った秘書セリーナを殺害しようと窓から突き落す。命を取りとめた彼女は女性の犯罪者、キャットウーマンとなって社会とマックスに復讐を誓う。やがて手を組んだキャットウーマンとペンギンは、マスコミ操作でネガティブキャンペーンを張り、邪魔者バットマンを追放しようたくらむ。

あるクリスマスイブの日、10歳になってもサンタの存在を信じる妹のケイト（ダービー・キャンプ）とそんな妹をからかう兄テディ（ジュダ・ルイス）はサンタの姿をカメラに捉えようと計画します。待ち構えていた2人の前に現れたのは、プレゼントを配る本物のサンタクロース（カート・ラッセル）でした。しかし2人のせいでサンタのソリは墜落し、クリスマスに大ピンチが発生、果たしてプレゼントは届けられるのでしょうか？

When Edna—the elderly and widowed matriarch of the family—goes missing, her daughter and granddaughter travel to their remote family home to find her. Soon after her return, they start to discover a sinister presence haunting the house and taking control of Edna.

Taking "Isle of the Dead," a work by the Swiss symbolist painter Arnold Böcklin as his starting point, Norman McLaren creates a deeply disturbing surrealist dream.

In this early film Norman McLaren shot crystal formations through a low-power microscope, using polarized light with the lower part of the picture masked off. The film was then rewound and a scene of dancers was filmed.

A slow-motion study by Norman McLaren of the pas-de-deux adagio, one of the most exacting and difficult dances of classical ballet. A ballet originally choreographed by the Russian ballet master Asaf Messerer is performed for this film by the internationally known Canadian pair, David and Anna Marie Holmes, to the music of Albinoni’s Adagio. A film to heighten the aesthetic appreciation of classical ballet and to afford observation of the technique and mechanics of the adagio movements.

Three separate sequences related to Christmas, animated in different styles: cutout animation of children dancing in the snow to "Jingle Bells," stop-motion animation of toys come to life, and cel animation of a man who seeks the ideal star to top his Christmas tree.

An animated film in which colored shapes dance to calliope music. The visuals were drawn by Norman McLaren directly upon the film with pen and ink. Simple forms dance about the screen to the discordant strains of an old-time circus calliope.

A gay fantasia of patterned sound in which Norman McLaren salutes the West Indies, painting the spirit of fiesta on film to the lively beat of an island tune by Trinidad's Grand Curacaya Orchestra.

This animated short by Norman McLaren is a publicity message for a war bond campaign. Symbols, a stick man and lettering are drawn directly on 35mm film stock and synchronized with a brass band rendition of Sousa's march "The Thunderer."

This animated short is a play on motion set against a background of multi-hued sky. Spheres of translucent pearl float weightlessly in the unlimited panorama of the sky, grouping, regrouping or colliding like the stylized burst of some atomic chain reaction. The dance is set to the musical cadences of Bach, played by pianist Glenn Gould.

A man visits the panels of a comic page-like world in search for his loved Gloria.

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.

An animated short film from 1987 that deals with the incarceration of a man in a dark cell from where there is no escape.

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.

The film's soundtrack is an original musical composition produced with synthetic sound - through photographing unusual geometric shapes and running them through an optical sound head. The images are an artistic rendering of this soundtrack.

One of the first color films in Europe, made with the Gaspar Color process.

To the tune of a classic French-Canadian nonsense song, surreal blackbird made of lines loses body parts and gets them back threefold.

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.

A personal interpretation of Norwegian history - starring a grandmother who during the Second World War loses her job ironing the King's shirts. Instead she gains access to the enemy's uniforms, and inspires her own brand of resistance fighters, the "Shirt Guerillas".

Monsterlike cranes reign over an inhospitable harbour as prehistorical reptiles. The only human being they accept is a lonesome fisherman. He is to witness a strange encounter between a ship's mate and a mermaid. Imagination or reality?

One of Oskar Fischinger's earliest films, Seelische Konstruktionen (as it is known in German), clearly points the way to the masterpieces of musically-blended experimental animation he would conceive in the decades to come. The sense of masterful timing and rhythm, the easy and natural -- though patently Fischinger-esque -- character traits of the subjects, and the smooth precision of both line and movement are all present already. Unique is the black-silhouetted, semi-cartoon characters (not nearly as rigidly self-contained as Lotte Reiniger's cut-out forms) which seem to adhere to no physical limitations whatsoever. Morphing into shapes, structures, objects, patterns, and even one another, as though they were made of pure mercury and set to music. As for the "story", it's rather non-sensical, and certainly silly, but also has a slightly dark and devious tinge to it as well; men becoming monsters, uncontrollable shape-shifting and the constant, almost desperate movement.