Orogenesis (2016)

Киноэссе популярной в шестидесятые американской рок-группы The Monkees на такие «жизненно важные» темы, как отношения с девушками, коммерциализация музыки, кинопроизводство и Вьетнам.

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.

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.

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.

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".

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.

This film, photographed in London, is an exploration into the depths of unconscious reactions.

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.

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 .

Man's rebellion against the world of the digits.

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 Sense Of Place is a short film made with scanned images of transparent Adhesive Sticky Tape. The traces, marks, and imprints left on the tape were scanned and animated into a noisy moving image, overlaying with slow-motion footage from a platform from a train station. A mundane moment of time stretched into a poetic space where passenger's figure and movements reveal below the traces of the insignificant sticky tape.

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.

Black-and-white abstract animated short of light, shadows, and reflections by The Dodals (Karel Dodal (1900-1986) in collaboration with his wife, Irena Dodalová).

Using century old technology, PXXXL creates digital glitch from analog process. It was animated directly on the celluloid without a camera, in a darkroom, using lights, objects, and handmade lenses. There is no digital manipulation involved-- just light, celluloid, and processing.

Bernadette Corporation describes this work as "A fashion film about the poetry of Stéphane Mallarmé and the color white." Produced for the 2000 Walker Art Center exhibition Let's Entertain, this short film employs a range of strategies to approach the idea of nothingness, emptiness, and vacuity, with an eye to how these notions relate to contemporary mass-cultural entertainment. Juxtaposing "documentary" takes on a fashion shoot with footage of semiologist Sylvère Lotringer giving an impromptu lecture on Mallarmé on a frozen lake, Hell Frozen Over maintains an ambiguous stance from which to both critique and celebrate the power of surface.

A film unmade-- That is, Survage's film was never realized in the traditional sense-- At the time, such a project was beyond technological possibility. His pioneering efforts to combine luminous, expressive painting and the moving picture were further curtailed by the outbreak of WWI. Some have taken it upon themselves to 'animate' his watercolor plates in attempts to set his dream into motion.

100 basic images switching positions for 4000 frames.

A strange feeling leads a guy to discover the new and strange world around him.

Utilising an apparently new-found obsession with the colour red and reinvigorating some of the circular imagery of A Man and His Dog Out for Air and 69, Breer delves into the very basis of animation to explore how a variety of easily recognisable objects can be portrayed and manipulated differently using pixillation and classically drawn animation. -Malcolm Turner