At Sea (2007)

Ten shots of skies.

1970년에서 71년 사이, 파솔리니는 유네스코의 요청으로 북 예멘의 수도 사나를 필름에 담는다. 인류의 주요 문화유산으로 등재된 고도 사나의 건축물들을 영화로 남겨야 했던 파솔리니는, 이 다큐멘터리를 만들며 예멘의 현실 앞에 나병에 감염된 듯한 분노를 느꼈다고 술회한 바 있다.

An unknown observer is seen traveling through a bleak corridor. At the end of the corridor they see a naked woman, whom they are unable to reach as their trip seems to become increasingly twisted and looped.

In his experimental short film "Brutalität in Stein" (Brutality in Stone), Alexander Kluge demonstrates how Nazi architecture used dimensions of inhuman and super-human scale to bolster the regime's politics of the same kind. Shots of huge neo-classical architectural structures from the Nazi period are confronted with equally anti-human national-socialist language as a voice-over.

Experimental filmmaker James Benning returns with this abstract documentary about California's Central Valley. Consisting of 35 shots, each over two minutes long, the film quietly portrays nature's subjugation to encroaching commercial interests. This film was screened at the 2000 Sundance Film Festival.

It’s a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what emerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The only reassurance that we are not in some endless machine-Metropolis is the shadow of daytime activity: a juggernaut plunging through a darkened village, a plague of small birds in the predawn light. The whole thing is underscored by a beautiful ‘composed’ soundtrack, from quietly humming streetlights to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction.

이 작품은 35mm로 촬영되었고, 영화 전체를 걸쳐 다중 노출을 사용한다. 여러 이미지가 한데 보이는 장면들은 우리에게 자연에서 도시로 변화하는 것을 동시에 보여준다. 오닐은 또한 긴 패닝과 트래킹 샷을 사용하는데, 이는 특별히 디자인된 컴퓨터로 작동하는 움직임으로 컨트롤한 것으로 오리지널 테이크에 정확하게 다른 레이어를 추가할 수 있게 한다. 그는 또는 영화의 많은 부분에 저속 촬영을 사용했다.

Avant garde/experimental film. A mesmerizing trip through the psychedelic vastness of space.

An insane man first loves then grows to hate his neighbor, an old man whose penetrating gaze unnerves the insane man. He plans a perfect crime and executes it one night. The next day, two officers knock on the insane man's door, investigating a shriek heard in the night. The insane man invites them in, answers their questions, and submits to an examination of his eyes by one of the officers, who proclaims him innocent. The insane man invites them to stay and relax awhile, then regales them with his theories of crime. His heart begins to beat louder. Angles on the set are skewed to suggest the man's internal disarray.

An animation made of beach sand on a piece of glass - directed by Caroline Leaf. Based on Kafka's The Metamorphosis.

Dekeukeleire's film evokes the notion of impatience via fragmented images of a revving motorcyle, a woman's expressions, and roads of a mountainous landscape.

카사노바 후작은 과거 화려한 여성편력으로 유명했던 인물이다. 스위스에 사는 그는 노쇠했음에도 불구하고 여전히 삶을 만끽한다. 어느 날 충실한 종복과 함께 루마니아의 작은 농촌마을에 도착한 후 여자들을 탐한다. 그곳에는 드라큘라 백작이 살고 있다. 카사노바와 드라큘라가 한 영화에 등장한다고 해서 할리우드식 장르 혼성을 기대해서는 안 된다. 이 영화는 그보다 훨씬 독창적이고 섬세하며 시적이다. 퇴락한 카사노바가 인간의 식욕과 성욕을 극히 추잡스럽게 대변한다면 흡혈 후 괴성을 지르는 드라큘라는 하인의 말마따나 우울증에 시달리는 듯하다. 이 둘은 가슴 깊이 채워지지 않는 갈증과 차가운 고독을 공유한다. 그래서 대부분 밤에 촛불조명하에 촬영된 어두운 샷들은 그들의 처지와 하나가 된다. 아름답고 정교한 미장센도 돋보이지만 섬세한 사운드 연출 또한 이 영화를 형언할 수 없는 시정으로 가득 채운다. 프롤로그의 낭만적이고 에로스적인 음악과 마음을 뒤흔드는 바람소리가 그렇다. 올해 로카르노영화제 황금표범상 수상작으로, 스페인의 독창적인 작가 알베르 세라의 일곱 번째 장편이다. (2013년 제18회 부산국제영화제/이수원)

A small African village. The story focuses on Bila, a ten year old boy who befriends an old woman, Sana. Everybody calls her 'Witch' but Bila himself calls her 'Yaaba' (grandmother). When Bila's cousin Nopoko gets sick it is Sana's medicine that saves her.

Structured in visual chapters: the port, anchors, the wind, the spray, the dunes, the North Sea… A series of images that need no anecdote or explanation. Storck offers a glimpse of Ostend, aspects that order its multiple constitutive elements; The water, the sand, the waves, vital cinematic language displayed in simple pictures. A poetic and kinetic shock, without fiction or sound, which relieves film from its narrative obligation and restores it to the world of sensations that it can alone carry.

Rythmetic is a 1956 Canadian short animated film directed by Norman McLaren and Evelyn Lambart where numbers are the main characters.

An examination of the history of the U.S. through archival footage and contrasting views of society, incorporating audiovisual material ranging from political campaign films to animated cartoons to children’s phonograph records, featuring Al Jolson, Mickey Mouse, the young Jack Smith, and a half-dozen American presidents.

I evoke a dancing woman. A woman? No. A bouncing line with harmonious rhythm. I evoke a luminous projection on veils ! Precise matter! No. Fluid rhythms. Why should one disregard, on screen, the pleasure that movement brings us in the theatre? Harmony of lines. Harmony of light. Lines, surfaces, volumes evolving directly, without the artifice of evocation, in the logic of its forms, dispossessed of any overly human sense, allowing an elevation towards the abstract, thus giving more space to sensations and to dreams : integral cinema. —Germaine Dulac

John Whitney's pioneering work of computer animation, Arabesque, from 1975. This flowing, abstract short film is a wonder to behold, a work of art. Like many other computer graphics pioneers, this film suggests roots in psychedelics and spiritual quests as much as engineering and mathematics.

영화는 한 젊은 남자의 24시간을 추적하며 그 속에서 드러나는 엄마, 여자친구 그리고 친구들과의 관계에 주목한다.

a film by Apichatpong Weerasethakul