In a post-apocalyptic world not dissimilar to the present, SUGAR, a humanoid robot that can feel, think and dance, is sent out to bring a human touch back to humanity. SUGAR finally encounters a HON (Human Organism Normal), a post-influencer who, in an underground techno cell, poses in a sort of eternal commercial. SUGAR tries to free HON from his prison of routines, speech and movement loops and seeks to build a true encounter – an interaction, a dialogue.
2019-03-06
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A moody love story featuring a cat and mouse. Even if we are lucky enough to love and be loved, deep down we remain a bit lonely. The film talks about how dearly we have to pay for our inability to endure this loneliness. About the fact that we must take care of love carefully, because returning to a loved one may prove impossible, even if there is a glowing longing on both sides. A broken diamond can no longer be glued together.
Conceived, drawn and animated live by a team of patients from a psychiatric clinic, this achievement presents, in the eyes of its author, less interest on a purely cinematographic level than on that of human experience. It is the disturbing wordless story of a woman and a man living in a strange setting where objects are endowed with life that they have chosen to tell us through this theater of shadow puppets in cut out figurines. Their characters will know a tragic fate since carried in the air by balloons, they will finally be devoured by a horrible dragon.
Bugs takes a wrong turn off the Hollywood freeway and tunnels into the headquarters of Napoleon Bonaparte.
Crusoe, played by Yosemite Sam, has been living off coconuts for 20 years when Bugs washes up on his island.
An animated interpretation of a rocket voyage to the moon demonstrates the scientific principles at play in theoretical space travel (such as gravity).
Rare theatrical promo for the Christmas Seals charity, showing the busy daily routine of an urban everyman and offering the health wisdom of eight hours of sleep each night.
Leonardo is truly a terrible monster-terrible at being a monster that is. No matter how hard he tries, he can't seem to frighten anyone. Determined to succeed, Leonardo sets himself to training and research. Finally, he finds a nervous little boy, and scares the tuna salad out of him! But scaring people isn't quite as satisfying as he thought it would be. Leonardo realizes that he might be a terrible, awful monster-but he could be a really good friend.
Bernard faces the stereotype of an animal predator, one you wouldn’t cross paths with. Feeling resigned, he tries to express the truth about his isolation, and suppress the call of nature in him.
Where does love go when lovers break apart? Or when they stay together? How do you find the spirit to fall in love again? Is it permissible-possible and is it possible-legal to love several people at the same time? What becomes of our love after death, is it really that important or simply inevitable? This is about the laws of love, which are as simple as one, two, three, when we are still in love, but incomprehensible and unexplainable once love retreats. About the logic of the heart, which has nothing in common with common logic, just like non-Euclidean geometry disproves and surpasses the Euclidean one.
Pinocchio, an animated wooden puppet tries to escape from his father, Gepetto in a creepy and dark toy factory.
Barney's settling in for the winter. But water leaks, a loose shutter, a noisy fire, a teakettle left on, and some stray embers all get in the way, and Barney also locks himself out. And that's just the beginning.
The Two Curious Puppies wander into a theater and run afoul of a trickster magician's rabbit, a playful seal and an intimidating little bird.
A descent into the maelstrom of anguish that tormented Arthur Lipsett, a famed Canadian experimental filmmaker who died at 49. A diary transmuted into a clash of images and sounds charting a prodigious frenzy of creation, a tableau depicting an artist’s dizzying descent into depression and madness: with LIPSETT DIARIES, Theodore Ushev renews his filmmaking aesthetic and explores what happens when genius is on a first-name basis with madness.