The Bog (2023)

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?

The Persona Century Corporation has purchased nearly every parcel of land on earth. Dissension is not tolerated within the corporation's borders and those who oppose Persona are dealt with swiftly. Of those few places not yet under Persona's control is the free town of Kabuki-cho, also known as "The Dark Side of Tokyo". Within the town, under the leadership of a woman named Mai, is a small resistance group called Messiah. Into this world steps a man who takes the sobriquet of Kabuki-cho: Darkside. Sealed up in another dimension eighteen years ago by Persona Century, Darkside now returns to aid Messiah using his unique mystic power of renewal.

Comédia negra sobre um assassinato e as suas consequências, apresentada do fim para o princípio, onde a morte é na verdade um renascer. O filme começa com uma "execução" do protagonista principal e retrocede para explorar as suas ações e motivações anteriores.

Num futuro próximo, o Japão está à beira de um colapso económico. Milhões de pessoas encontram-se desempregadas, e não existe qualquer disciplina nas escolas. Como resposta à crise, o governo institui o programa Battle Royale para tentar controlar a crescente vaga de crimes juvenis. Depois de selecionada aleatoriamente uma turma de quarenta rapazes e raparigas com 15 anos, estes são raptados e enviados para uma ilha no meio do nada. Os estudantes são então obrigados a participar num jogo mortal sem regras, onde lhes é dada apenas uma arma, água e três dias para lutarem até à morte, até que um único sobrevivente saia vencedor. E se mais do que um estiver vivo depois do tempo limite, todos os concorrentes serão mortos.

Na esperança de encontrar um senso de conexão com sua falecida mãe, Gorgeous faz uma viagem ao campo para visitar sua tia, na sua casa natal. Ela convida seus seis amigos: Prof, Melody, Mac, Fantasy, Kung Fu e Sweet para se juntarem a ela. Logo, as meninas percebem que há algo além do normal nesta velha casa.

Yuuko recebe de um desconhecido um convite para um leilão. Da mesma forma, ávidos coleccionadores são convidados para visitarem uma velha mansão onde supostamente decorrerá o leilão, e cujo dono não comparece. Um por um, cada coleccionador desaparece e estranhos acontecimentos ocorrem durante essa mesma noite. O que será que está a ser leiloado? E quem será o dono da mansão? São questões que Yuuko e Watanuki vão tentar resolver.

An animation film, made without the use of a camera, in which "boogie" played by Albert Ammons and "doodle" drawn by Norman McLaren combine to make a rhythmic, brightly colored film experiment. The main title is in eight languages.

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

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.

This animated short film attempts to answer the eternal questions, What is dying? and How does it feel? Based on recent studies, case histories and some of the ancient myths, the afterlife state is portrayed as an awesome but methodical working-out of all the individual's past experiences. Film without words.

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."

An experimental short film by Walerian Borowczyk and Jan Lenica.

Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film.

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

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.

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.

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.

"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.