as flores e as dores que ele me deu

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.

홍콩 출신의 두 남자 보영과 요휘는 새로운 삶의 시작을 위해 홍콩의 지구 반대편인 아르헨티나로 온다. 우연히 사게 된 등 속에 그려진 폭포의 광경에 매료된 둘은 함께 이과수 폭포를 찾기로 한다. 폭포를 찾던 중 두 사람은 다투게 되고 보영은 '나중에 기회가 있으면 다시 시작하자'는 말을 남긴 채 요휘를 떠난다. 마음의 상처를 입은 요휘는 집으로 돌아갈 여비를 벌기 위해 부에노스 아이레스의 한 탱고바에서 호객 일을 한다. 그리고 거기서 우연히 다시 보영을 만난다. 보영은 요휘를 찾아와 다시 시작하자고 말하지만 요휘는 상처받는 게 두려워 거절한다. 그러나 보영이 손을 다친 것을 보자 집으로 데려와 보영을 돌봐주게 되는데...

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.

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

An experimental short film by Walerian Borowczyk and Jan Lenica.

"Single Frame sequences of TV or film images, with periodic distortions of the image. The images are airplanes, women men interspersed with pictures of texts like: 'silence, genius at work' and 'ich liebe dich.' The end credit is 'Television décollage, Cologne, 1963."

In an endless loop, unexposed film runs through the projector. The resulting projected image shows a surface illuminated by a bright light, occasionally altered by the appearance of scratches and dust particles in the surface of the damaged film material. This a film which depicts only its own material qualities; An "anti-film", meant to encourage viewers to focus on the lack of concrete images.

Starting in the late 1930s, illustrator and experimental animator Douglass Crockwell created a series of short abstract animated films at his home in Glen Falls, New York. The films offered Crockwell a chance to experiment with various unorthodox animation techniques such as adding and removing non-drying paint on glass frame-by-frame, squeezing paint between two sheets of glass, and finger painting. The individual films created over a nine-year period were then stitched together for presentation, forming a nonsensical relationship that only highlights the abstract qualities of the images. —Kansas City Electronic Music and Arts Alliance

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.

ĀTMAN is a visual tour-de-force based on the idea of the subject at the centre of the circle created by camera positions (480 such positions). Shooting frame-by-frame the filmmaker set up an increasingly rapid circular motion. ĀTMAN is an early Buddhist deity often connected with destruction; the Japanese aspect is stressed by the devil mask of Hangan, from the Noh, and by using both Noh music and the general principle of acceleration often associated with Noh drama.

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

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.

Short experimental animation.

A synthesized video environment.

Utilising an apparently new-found obsession with the colour red and reinvigorating some of the circular imagery of A Man and His Dog Out for Air and 69, Breer delves into the very basis of animation to explore how a variety of easily recognisable objects can be portrayed and manipulated differently using pixillation and classically drawn animation. -Malcolm Turner

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.

100 basic images switching positions for 4000 frames.

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 .

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.