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The Bomb(en)
Filmmakers use archival footage and animation to explore the culture surrounding nuclear weapons, the fascination they inspire and the perverse appeal they still exert.
Superstar: The Karen Carpenter Story(en)
The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
Head Rag Hop(en)
A proto-music video: three minutes of experimental animation set to the tune of Romeo Nelson's 'Head Rag Hop'.
Impressions from the Upper Atmosphere(es)
Sistiaga painted directly on 70mm film a circular (planetary?) form, around which dance shifting colours in a psychedelic acceleration matched by the soundtrack’s deep-space roar and howl. - Cinema Scope
La Maison en Petits Cubes(ja)
La Maison en Petits Cubes tells the story of a grandfather's memories as he adds more blocks to his house to stem the flooding waters.
60 Seconds of Solitude in Year Zero(en)
An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.
Scanning of Modulations(ja)
Eye-popping digital moving image work with an equally arresting soundtrack from noise music heavies.
Calypso(en)
Hand painted directly onto film stock by Margaret Tait, this film features animated dancing figures, accompanied by authentic calypso music.
welcome_home.exe(en)
As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.
The Short Films of David Lynch(en)
This collection of David Lynch's short films cover the first 29 years of his career. Each film is given a special introduction by the director himself. His earliest underground films Six Figures Getting Sick (1966), The Alphabet (1968), The Grandmother (1970) and The Amputee (1974) are showcased as well as two requisitioned works well into his successful career The Cowboy and the Frenchman (1988) and his addition for Lumière and Company (1995).
Madhouse Mitchel(en)
Creeping from the halls of the maze brain, corruption and terror is woven by devils born from the denied errors of mankind.
Photodiary '87(ja)
I turned my gaze to the various events in daily life and made this filmic diary in a manner as if confessing my feelings. Of course, since I was making the film, I wanted to depict these feelings and events with tricky techniques. I used various methods to shoot photographs of a relative's wedding, the landscape I see from window of my house, commemorative travel photographs and the like frame-by-frame.
Cat's Cradle(en)
Images of two women, two men, and a gray cat form a montage of rapid bits of movement. A woman is in a bedroom, another wears an apron: they work with their hands, occasionally looking up. A man enters a room, a woman smiles. He sits, another man sits and smokes. The cat stretches. There are close-ups of each. The light is dim; a filter accentuates red. A bare foot stands on a satin sheet. A woman disrobes. She pets the cat. Preserved by the Academy Film Archive in 2006.
Mothlight(en)
Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film.
Eye Myth(en)
After the title, a white screen gives way to a series of frames suggestive of abstract art, usually with one or two colors dominating and rapid change in the images. Two figures emerge from this jungle of color: the first, a shirtless man, appears twice, coming into focus, then disappearing behind the bursts and patterns of color, then reappearing; the second figure appears later, in the right foreground. This figure suggests someone older, someone of substance. The myth? Preserved by the Academy Film Archive in 2012.