Skin Shade Night Day (2022)

CREMASTER 3 (2002) is set in New York City and narrates the construction of the Chrysler Building, which is in itself a character - host to inner, antagonistic forces at play for access to the process of (spiritual) transcendence. These factions find form in the struggle between Hiram Abiff or the Architect ...

오샤레는 오늘도 친구들과 함께 여름방학 계획을 짜느라 여념이 없다. 방과 후 집으로 돌아온 그녀를 맞이하는 아빠, 이탈리아에서 돌아온 아빠가 반갑지만 아빠 옆에는 곧 새 엄마가 될 낯선 여자가 서 있다. 충격에 휩싸인 오샤레는 문득 생각난 시골 이모댁에 편지 한 통을 보낸다. 여름방학이 오고 오샤레는 7명의 친구들과 함께 시골 이모 집을 방문하기로 한다. 정겨운 시골의 분위기와 따뜻하게 맞아주는 이모는 도시밖에 몰랐던 오샤레와 친구들에게 특별한 방학을 선사해 줄 듯 하다. 하지만 뜻 밖의 사건들이 그들을 기다리고 있다. 집 안의 물건들이 그들을 위협하기 시작하고 친구들이 하나 둘씩 사라져 간다. 위협의 정체는 바로 이모. 사랑하는 사람을 전쟁으로 잃은 채 혼자 살다가 수년 전에 죽은 이모는 자신의 원한을 풀고자 젊은 처녀들을 잡아먹기 시작한다.

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.

카메라없이 처음으로 만들어진 작품. 실제로 필름 위에 나방의 날개, 꽃잎 조각, 풀 등을 콜라주 형태로 붙여놓고 일련의 프린트 과정을 거친 작품으로 널리 알려져 있다. 이미 죽어버린 생명체가 작가의 손길을 거쳐 스크린 위에 다시 투영될 때의 빛의 숨결을 받아 새로운 생명으로 환생한다는 역설적인 메시지를 지니고 있다. 바로 빛의 깜박거림으로 인하여 영사기를 통해 보여지는 나방의 날개는 마치 살아서 움직이는 것같은 환상을 관객들에게 제공한다.

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.

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."

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.

An essay around the streets, as an homage to Fernando Pessoa

Experimental filmmaker Rubén Gámez explores the iconography of the maguey plant in Mexican cinematic history.

Odds & Ends is a sly comment on the collage film and Beat culture. To discarded travel and advertising footage found at a local film laboratory, Belson Shimane added a mélange of animation—assemblages, cutouts, color fields, and line drawings—and faux hipster narration by Jacobs (credited via the anagram Rheny Bojacs) punctuated by a bongo backing. Strung together with doublespeak and non sequiturs, the monologue skirts the edge of nonsense as Jacobs waxes on about poetry, jazz, “reaching the public,” “having a good time,” and—although “money doesn’t count”—the “possibility of subsidy” through grants. Footage of champagne, tropical beaches, and exotic peoples intermingle with rhythmic drawings and stop-motion flights of fancy. The visuals race on through dazzling transformations, both amplifying and undercutting the patter. —National Film Preservation Foundation

Polish avant-garde animation in which a periodic series of aggressive starbursts interrupt the melodic dancing of fluid shapes, one raid even freezing the image for a moment.

For this film, Takashi Makino allowed himself to be inspired by the earth. In a never-ending stream of images, we recognize elements from the forest that he then reduces to an abstraction. The film came about as a classical composition in which the picture and the musical contribution of Jim O’Rourke link up seamlessly and lead the mood in turn. A sense of freedom is what predominates.

Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.

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.

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.

First film by Julio Bressane shot in exile, "Memoirs" is a film about a man who repeatedly kills the same type of woman in same places, the same way. Filmed on the streets of London.

A film by Paul Clipson.

16mm color work by Stan Vanderbeek that takes his work away from the cutups and the commentary and lands him in the psychedelic and abstract. Opticals, repetitions, camera moves and zooms are what make up the bulk of this exploration into fluids. The results bridge that realm between hangout art piece and intersteller stoner trip.

Burr creates a slow, liminal illusion in black-and-white, switching perspectives and matrices and crescendo-ing in time with Christopher Doulgeris’ portentously pulsating soundtrack.