Object Lessons (2019)

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.

A musical horror story about two young women who are stalked through a shopping mall by a cannibal. He follows them home, and here the victims become the aggressors.

Dan, a guilt-ridden man attempting to escape a troubled past finds an oddly coloured stone whilst dumping incriminating items deep within the countryside. Soon after taking the stone, he begins to see visions and discovers that his deepest fears lie within himself.

Tar pits form as petroleum seeps to the surface through fissures in the Earth’s crust, leaving viscous asphalt pools. To make Tar Pits Film, Jennifer West threw a strip of film into the La Brea Tar Pits in Los Angeles, still-bubbling asphalt pools which have seeped from the ground for tens of thousands of years. The film was then ridden over hot asphalt by a motorcycle and drenched in other substances including thick mayonnaise and body lotion.

After a catastrophic global war, a young filmmaker awakens in the carnage and seeks refuge in the only other survivor: an eccentric, ideologically opposed figure of the United States military. Together, they brave the toxic landscape in search of safety... and answers.

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.

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.

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.

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?

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

The film choreographically covers the distance between two women and their mirroring selves, under Laurie Spiegel's soundscape and with the ambiance of VHS video. Their bodies, sometimes two and others four, are always connected with a rope, influenced by white noise retro interference, sound scratches and pauses. They approach each other until they connect and then finally completely disappear, nullifying the distance between them. The reverse movement of these similar bodies-idols aims to compose a dance of the two and the one, our close and more distant self and to reach to the void in between them.

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

100 basic images switching positions for 4000 frames.

Consistent stylistic-thematic structures link and merge throughout the bewildering event chain. The distinction between organic forms and human artifacts is blurred by the visual style which is enigmatic without being ambiguous.

A motorist is haunted by a wayfarer he has accidentally wronged.

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

A journey to an unknown star, a children's theatre play, an untalented writer and the fear of becoming the worst version of oneself. A mixture of live-action footage and animated scenes. A stream of (un)conscious stereotypes.

People are punished not for their sins, but by their sins and this is the most severe and proper punishment.