The Smell of Burning Ants (1994)

마리라는 똑같은 이름을 가진 두 소녀는 세상이 썩었다고 생각한 나머지 일탈 행위를 즐기며 자신들만의 삶을 영위하려 한다. 그러나 자신들의 생각이 틀렸다는 결론에 도달한 두 소녀는 어떤 선택을 내린다. 관습을 깨뜨리는 몽타주와 이미지의 왜곡 등 다양한 영화 장치를 통해 무정부주의적 유머를 선사하는 베라 히틸로바의 초기 대표작.

Life for a struggling college student changes in an instant when he meets the owner of a male strip club who convinces him to give amateur night a whirl.

The story revolves around two spoiled youngsters, Jones and his cousin Korah and the turn of events during their vacation.

인적이 드문 시골에서 차가 고장 나 낯선 이의 집에 방문하게 된 젊은 신혼부부 제프와 크리시. 집주인인 에미리는 신혼부부를 경계하면서도 차 수리공이 도착할 때까지 집에 머물도록 도와준다. 그러나 집 주변을 구경하던 크리시가 집안 욕조에서 끔찍하게 살해된 시체를 목격하게 되면서 에미리가 살인범이라는 사실을 알게 되고 바로 그 순간 에미리의 공격을 받게 되는데... 행복한 허니문이 핏빛 허니문으로 바뀌는 순간! 꽉 막힌 밀실에서 일어나는 살인범과의 팽팽한 심리전의 결말은 어떻게 될 것인가!

Animation using cutout animation to craft a bizarre science fiction experiment. Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery.

A girl haunted by traumatic events takes us on a mesmerising journey through 100 years of horror cinema to explore how filmmakers scare us – and why we let them.

In this "beautifully intimate and utterly unique piece of cinema", Toby Amies crosses the line between filmmaker and carer, trying to cope with the strange and hilarious world view of the fragile eccentric, Drako Zarharzar. A love story. Drako Oho Zaraharzar can remember modeling for Salvador Dali and hanging out with The Stones. But he can’t remember yesterday. Following a severe head injury, Drako Zaraharzar suffers from terrible memory loss, he can access memories from before his accident, but can’t imprint new ones. As he puts it, “the recording machine in my head doesn’t work”. Consequently, and as an antidote to depression he chose to live “completely in the now” according to the bizarre mottoes delivered to him whilst in a coma. A film exploring Drako’s urid and exotic back story including work ...

Organized in 12 discrete chapters, Sixty Six is a milestone achievement, the culmination of Klahr’s decades-long work in collage filmmaking. With its complex superimpositions of imagery and music, and its range of tones and textures at once alluringly erotic and forebodingly sinister, the film is a hypnotic dream of 1960 and 1970s Pop. Elliptical tales of sunshine noir and classic Greek mythology are inhabited by comic book super heroes and characters from Portuguese foto romans who wander through midcentury modernist Los Angeles architectural photographs and landscapes from period magazines.

A spectacular collaboration between prize winning Canadian animator Pierre Hébert and cutting edge electronics wizard Bob Ostertag. Outrageous noise sampling interacts with spontaneously created live animation in this groundbreaking improvisational work, refined and perfected for an exclusive DVD release.

Animation. The theme is Weightlessness. Objects and characters are cut loose from habitual meanings, also from tensions and gravitational limitations. A lyric Eric Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are possible, and that we will not dissolve into a jelly if we allow ourselves to relax into them: A horseman rides through the landscape, through the town, but never arrives anywhere in particular. An acrobat swings on a rope above a canal in Venice, and is content just to swing there. Nothing threatens to disturb them. This film is a total contrast to the Kafka-like oddities of Eastern European animation. —Canyon Cinema

Tom is a young guy from Zagreb, completely without money, trying to make films in Belgrade. He somehow manages to survive with a help of women. He doesn't believe in anybody, respects no one and is in constant conflict with the ruling system and order. After being left by a silly American girl, Tom binds with a woman whose husband is abroad. When she kicks him out, he moves in with her husband's sister, who later kills him in the attack of jealousy. All this is shown in the context of major historical events prior to 1968. with lots of archive footage of world leaders.

Nammal is another campus movie from Kamal after Niram. What is different this time is Kamal introduces new faces Siddharth and Jishnu. Kamal provides glimpses of the new campus with adventure in his movie with these debutants. Snehalatha (Suhasini) takes charge as the Principal in a college where Shyam (Siddharth) and Sivan (Jishnu) are the heroes. Shyam and Sivan are fun filled characters as well as naughty. Aparna (Renuka Menon) is teased and ragged by the duo, who happens to be the daughter of Principal's friend. Aparna complaints and Snehalatha takes action against Shyam and Shivan. Soon to her surpurise she discovers that Shyam and Shivan are orphans, hardworking and their guardian is a priest (Balachandra Menon).

Walt Disney's re-imagineering of Martin Scorsese's classic film Taxi Driver follows Mickey Mouse-obsessed Travis Bickle as he looks for love in a rapidly transforming New York City. A 'fair use' parody by Bryan Boyce.

A haunting documentary on the pains of growing up male. It explores the inner and outer cruelties that boys perpetrate and endure. The film provokes the viewer to reflect on how our society can deprive boys of wholeness.

"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

Global Groove was a collaborative piece by Nam June Paik and John Godfrey. Paik, amongst other artists who shared the same vision in the 1960s, saw the potential in the television beyond it being a one-sided medium to present programs and commercials. Instead, he saw it more as a place to facilitate a free flow of information exchange. He wanted to strip away the limitations from copyright system and network restrictions and bring in a new TV culture where information could be accessed inexpensively and conveniently. The full length of the piece ran 28 minutes and was first broadcasted in January 30, 1974 on WNET.

In an effort to cure her smoking habit a middle-aged woman discovers that she can communicate with her long lost son while watching a Halloween safety program on TV. After suffering a nervous breakdown, her husband, a used car salesman, is revitalized when he travels back in time to drive the first car he ever sold. Seventeen years later a powerful canned food manufacturer crashes the same car into a toaster truck while endorsing a brand of yams on live TV. At the funeral his clergyman experiences a crisis of faith when he and a lifelike Mexican continue their search for a married couple who have befriended an insect who enjoys drinking lime soda. They later meet a young man whose bizarre murder scheme involves four innocent members of an experimental rock band who have all given up smoking.

The scene is set in front of a French chateau. The camera chases improbable incidents across the screen. Many are constructed out of one of Jordan's favorite engravings illustrators: Poyet. Duels occur on a tight rope. Heavier-than- air machines fly (and sometimes crash). Below guns spear exploding spheres. The timing of the animation is exquisite, existing in an atmosphere balanced between frenzy and delight.

"21-87 is a 1963 Canadian abstract film created by Arthur Lipsett that lasts 9 minutes and 33 seconds. The short film, produced by the National Film Board of Canada, is a collage of snippets from discarded footage found by Lipsett in the editing room of the National Film Board (where he was employed as an animator), combined with his own black and white 16mm footage which he shot on the streets of Montreal and New York City, among other locations."

Baldwin’s “pseudo-pseudo-documentary” presents a factual chronicle of US intervention in Latin America in the form of the ultimate far-right conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac.