On Children (2021)

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 the pandemic isolated him from his normal life and friends, a boy must deal with the unbearable dullness of a new life at home, the hurtful and escapist trappings of nostalgia, and distorted perceptions of life and his family through seeking the colors that defined the best years of his youth. A zero-budget experimental short film that expresses universal feelings of loss, paranoia, and hope the world experienced during the early months of the COVID-19 pandemic through some abstract scenarios and sounds.

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.

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

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."

In the 1970s, Director Kim is obsessed by the desire to re-shoot the ending of his completed film Cobweb, but chaos and turmoil grip the set with interference from the censorship authorities, and the complaints of actors and producers who can't understand the re-written ending. Will Kim be able to find a way through this chaos to fulfill his artistic ambitions and complete his masterpiece?

Nura is determined to live her life to the full, despite a future without her eyesight.

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

A hand animated film that is a precursor for Belson’s later work

A commission for the San Francisco Exploratorium, this film-collage studies the water systems and architecture of the San Francisco waterfront, in abstract and formal contexts.

The video, for a track by Jefre Cantu-Ledesma, was directed by Paul Clipson, who interprets the stuttering ambient composition with busy, bursting edits of a young woman walking on a sun-drenched beach.

"Momentum is Belson's most serene and gentle film since Allures. This treatment of the sun as an almost dreamlike hallucinatory experience is both surprising and curiously realistic." -Gene Youngblood

Short film by Paul Clipson.

Polish avant-garde animation in which a periodic series of aggressive starbursts interrupt the melodic dancing of fluid shapes, one raid even freezing the image for a moment.

The shifting, abstract color imagery of Jordan Belson's "Cosmos," which unfurls to electronic sound, is attributed in the program notes to the artist's insight from experience with drugs and yoga. - The New York Times

The first step is taken inward and in silence.

The first 12 minutes would later be released as "Fountain of Dreams"

Len Lye usually timed his films with great care to match their soundtracks, but for All Souls Carnival, he and composer Henry Brant worked separately, preferring to see if the score and visual track would synchronise by chance. Lye also experimented with a new Direct Film technique, drenching the filmstrip in colourful paint and marker pen.