The Unluckiest Dragon (2012)

Um rato sai para passear na floresta e se encontra com vários predadores.

Filmed like the travel journey of a Western traveler in search of Madagascar's customs. The pages turn, the drawings come to life, and the luxuriant landscapes of Madagascar appear one after another.

French film crew follows around journalist Eddie Brock in the streets of New York.

A young female babysitter is chatting to her friend when the young girl she's watching disturbs her. She hangs up the phone and goes upstairs to investigate. She finds her screaming and standing up on her bed but can't find anything wrong. She calms the child down and goes back down stairs. This happens several times but things get more ominous and creepy as the babysitter has to investigate the supposedly safe little bedroom.

In Prague, a professorial puppet, with metal pincers for hands and an open book for a hat, takes a boy as a pupil. First, the professor empties fluff and toys from the child's head, leaving him without the top of his head for most of the film. The professor then teaches the lad about illusions and perspectives, the pursuit of an object through exploring a bank of drawers, divining an object, and the migration of forms. The child then brings out a box with a tarantula in it: the professor puts his "hands" into the box and describes what he feels. The boy receives a final lesson about animation and film making; then the professor gives him a brain and his own open-book hat.

A look at the life of Bob Kane, the creator of Batman.

Kuso no Sora Tobu Kikaitachi (Imaginary Flying Machines) é uma curta-metragem de animação japonesa de 2002 produzida pelo Studio Ghibli para o seu uso quase exclusivo no Museu Ghibli. Ele apresenta o diretor Hayao Miyazaki como o narrador, na forma de um porco humanóide, reminiscência de Porco do filme Porco Rosso, contando as histórias de vôo e as muitas máquinas imaginadas para alcançá-lo.

A woman sits alone on a chair at a table in a room on one of the top floors of an asylum. Bright spot lights dot the night, sometimes shining on her window. She sharpens pencils and writes on a page in a copy book. The pencil point often breaks under her fingers' force. She places broken points outside the window on the sill. A satanic figure is somewhere nearby, animated but of straw or clay, not flesh. She finishes her writing, tears the paper from the pad, folds it, places it in an envelope, and slips it through a slot. Is she writing to her husband? "Sweetheart, come." Written by

The questionably unstable Darryl Donaldson goes on a quest to prove why he's Donnie Darko's #1 fan. While creating the production diaries for the film Donnie Darko, the crew also secretly produced this short satirical film that poked fun at the film, its fans, and the people behind it.

The remaining fragments of an early Ozu film. It is the simple story of two friends who live together in a poor tenement and who share about everything in life (food, hopes, work...). Everything goes well until they gallantly rescue a young (and pretty) woman injured in a road accident. Since the lady has nowhere to go, the two good-hearted friends invite her to their home. She soon becomes their housemaid and they soon begin to seek her favors. Alas, she falls for a young student she has met in the neighborhood, much to the two friends' dismay.

The film centers on an unusual photograph dating back to the 1930s. An investigation of its particulars reveals a tapestry of secrets hidden in the details, and a tale of kidnapping and murder captured in a haunting moment.

The film threads together four stories, taking us into the life of a stressed-out Mohawk stockbroker in Manhattan; a young Inupiat girl sent to live with her grandmother in Barrow, Alaska; a Navajo gang member who must find his core values in his reservation on the mesas of New Mexico; and a Quechua healer in Peru, attempting to save a sick child. Each story explores what it means to belong to a specific community. A Thousand Roads is a fictional work, produced by National Museum of the American Indian (NMAI) to explore the human context of the NMAI’s collections. The film is striking visually, and presents through its beauty and its stories an imaginative entry into knowing about Native people living in the vast indigenous geography that comprises the Americas. Rather than presenting a conventional historical perspective, the film is composed of short contemporary fictions about individuals, grounding them in emotional truths to which an audience can easily relate.

In a desolate world, in a city of madness, José Ditirambo is a wolf among wolves, a fury among furies, an intrepid journalist whose favorite weapons are humor and logic, until he embarks on a mission to find a woman he has heard asking for help through the pipes in his bathroom.

Journey to the future of Rani and Keren, a young couple moving in together for the first time. Without control they are drawn to the race of marriage, children and work, while desperately trying to keep up with the race and stay together.

Christmas and New Year. Three girls between 18 and 20, are hospitalized with cancer. All three of them have serious problems, not just in terms of health, but also in terms of their relationships with their nearest and dearest. The girls find a haven in each other's company, where they are free from the fear of death and loneliness, and a substantial part of the film describes their sense of humour, unrestrained candidness and uncompromising zest for life.

In collaboration with Lomo, an Austrian camera company, and Mubi, a global film website, Weerasethakul was invited to make a work to launch the new LomoKino, a portable motion picture camera. Ashes juxtaposes the intimacy of his daily routine with the destruction of memories and his observations of the dark side of Thailand’s social realities.

First film produced by Laugh-O-Gram Studio, as part of demo reel. This film is not really animated, it just consists of Walt drawing a single frame. Part of the Newman Laugh-O-Grams Series.

A porcelain doll’s explorations of a dreamer’s imagination.

Near an extraordinary chair with many legs, a hand is visible gripping an edge. The hand is weathered, the fingers cracked and scarred. The end of a rifle appears and a shot fires. The bullet is visible whirling through space; it caroms and then goes through a pine cone. A long spoon emerges from a drawer in the chair and stretches toward the hand. The bullet is on the spoon. Later, the hand holds the bullet between two fingers; another shot is fired.