Perspectrum
Similar Movies
Bloodlust(de)
An attempt to constitute a human / machine dialogue. It shows the filmmaker’s blood as seen / heard with the eyes / ears of the machine which is a film projector with optical sound. He affixed his blood onto clear film leader by cutting into the flesh and then pressing the film leader onto the wound. Additionally he had blood taken with a syringe and afterwards dripped it on the film leader. fresh and clotted blood was used.
No. 11: Mirror Animations(en)
Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.
Keep on Turning(xx)
In Wiertz and Verbeek's kinetic, kaleidoscopic opus Keep on Turning (1974, 3 min, 16mm, sound) cubes convey, rotate and shift in tandem.
Gassy's Gas 'n Stuff(en)
Lulu the dog gets a job at the local convenience store and stays up all night cleaning the back room. Short created for Adult Swim Smalls.
Son of the White Mare(hu)
A horse goddess gives birth to three powerful brothers who set out into the Underworld to save three princesses from three evil dragons and reclaim their ancestors' lost kingdom.
On Generation and Corruption(ja)
Borrowing its title from a treatise by Aristotle, the latest film by Makino Takashi is an abstract work that finds its drive in the clash between light and darkness. Entirely composed of superimposed images of Tokyo’s landscape and water sites, the film takes its rhythm from the cycles of repetition that are the pillars of life and civilisation. As light emerges from the chaos, Jim O’Rourke’s ambient drone sets the tone for what is to come.
Not Even Nothing Can Be Free of Ghosts(de)
Rainer Kohlberger’s abstract film was created entirely without a camera. Through digital algorithms, he precisely arranged a rhythm of light and shadow that pulsates off the screen into our physical space with blinding intensity. The presence of light is almost felt as we are sucked into the image to become its ghostly accomplice. As we leave the theatre, the optical vibrations continue to haunt us.
Wet Paint(en)
[The] Insinuation of accidentally spilled ink that would be running across the paper in random, aleatory oozes displaces the graceful liquidity of the careful animated choreography. - William Moritz
Sketch Film #3(en)
Sketch Film #3 (Tomonari Nishikawa, 2006, 3 min., super 8, silent, 18/24fps, b&w, USA/Japan) The third film in the series, which starts with a sequence of paired images: a focused image and a blurred image of the same subject, which was caused by a diagonal camera movement. Later, it shows an experiment to produce an apparent depth by rotating an apparent shape. It was edited in camera and hand-processed afterwards.
Trans/Figure/Ground(en)
A film about uncanny valleys and the space between. Painted 16mm film undergoes a monstrous transformation becoming neither analog nor digital.
Enigma: Nazo(ja)
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.
Orogenesis(en)
A trip towards abstraction, as an hypothesis on how mountains might have been formed.
Things to Come(en)
A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.
Divisional Articulations(en)
Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.
Mamori(xx)
Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.