У 24-летней Ёсики нет бойфренда, зато есть работа в хорошей компании. Но Ёсика - не такая, как все девушки. По ночам она ищет аммониты и всё ещё остро переживает, вспоминая о первой школьной любви, парне по имени Ити. Привычный мирок девушки переворачивается с ног на голову, когда коллега Ни признаётся ей в своих чувствах.
Киноэссе популярной в шестидесятые американской рок-группы The Monkees на такие «жизненно важные» темы, как отношения с девушками, коммерциализация музыки, кинопроизводство и Вьетнам.
Леао, рабочий-гастарбайтер на лиссабонской стройке, падает в обморок, а обморок оборачивается двухмесячной комой. Мариана, молодая медсестра, ухаживает за пациентом и отправляется сопровождать его в возвращении на родину, на Кабо Верде, где нет нужных медикаментов, но наверняка есть родственники Леао. Мариана пытается раскрыть прошлое неподвижного пациента, оно становится ясным, то вновь запутывается, и заставляет ее каждый день смотреть на жизнь под новым углом. Пробуждение главного героя открывает новый виток спирали.
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.
In this powerful abstract film with a soundtrack of African drum music, Lye scratched "white ziggle-zag-splutter scratches" on to black leader, using a variety of tools from saw teeth to arrow heads. The first version of the film won a major award at the International Experimental Film Festival Held in Brussels in 1958 in association with the World's Fair. Stan Brakhage described the film as "an almost unbelievably immense masterpiece".
Десятиминутная история любви с необычными персонажами. Жила-была прямая линия. И однажды случилось так, что она влюбилась в точку. Но точка не отвечала взаимностью воздыхателю. Линия казалась ей слишком простой, и куда приятней точке было общаться с витиеватой загогулиной, более интересной и привлекательной. Но прямая линия не была намерена сдаваться: она попыталась сформировать различные фигуры, начала гнуться в углы. Позже она продемонстрировала свои способности возлюбленной точке, и точка поняла главное — истинная красота происходит из порядка, а загогулина — не ее судьба. Точка и линия гораздо больше подходят друг другу.
Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.
Music: Carl Stone. Colored pen-and-ink drawings, like topological maps of biomorphic objects, grow and evolve from the red star. Once the master image is formed, this continuously throbbing, pulsating sight is used to ring changes based on years of optical work. Music and picture work together to create a mood of ecstatic tranquility. The bright colors, beautiful music, surprise at the end, etc. make this a good film for young children. Awards: Sinking Creek Film & Video Festival, 1973; Washington National Student Film Festival, 1974; Brooklyn Independent Filmmakers Exposition, 1974; Vanguard Int'l Competition of Electronic Music for Film, 1974; Humboldt Film Festival, 1974.
This film, photographed in London, is an exploration into the depths of unconscious reactions.
Man's rebellion against the world of the digits.
A live action footage of a smiling, bespectacled (presumably) Western tourist set against the familiar cadence of an accelerating train revving up as it leaves the station sets the mesmerizing tone for the film's abstract panoramic survey of an Ozu-esque Japanese landscape of electrical power lines, passing trains, railroad tracks, and the gentle slope of obliquely peaked, uniform rooflines as Breer distills the essential geometry of Mount Fuji into a collage of acute angles and converging (and bifurcating) lines .
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.
Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.
#23.2 Book of Mirrors deals with the multiplication of light beams through mirrors and kaleidoscopes.
Here the artist creates a world of color, form, movement and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) are subject to any conceivable interrelation and modification.
A visualizer for Phoebe Bridgers' Copycat Killer EP, featuring four songs originally released on the Grammy-nominated album Punisher, with new orchestral instrumentation and arrangements by Rob Moose.
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.
A young woman wakes up to a new morning.
The Goal Is To Live is an infinitely-looping assemblage constructed out of repurposed content from the popular show How It’s Made, which chronicles the factories that create everyday objects. The film takes Dina Kelberman’s practice of accumulation and recontextualization into a large-scale time-based work for the first time. Reorganizing short clips into a long Rube-Goldberg-like narrative, and featuring a hypnotic minimalist soundtrack by Rod Hamilton and Tiffany Seal, the film portrays a mesmerizing and surreal process in which materials are transformed in myriad ways.
We watch white shapes dancing on black background, which changes when the white shape fills up the screen completely, and black lines and figures bounce around on the now white background.
