Operator
A man sits with his cat on a lonely day and calls the operator, asking if there is a number for God. Premiered on the BBC Culture Show and featured in The Animation Show Vol. 4.
Creeping from the halls of the maze brain, corruption and terror is woven by devils born from the denied errors of mankind.
A man sits with his cat on a lonely day and calls the operator, asking if there is a number for God. Premiered on the BBC Culture Show and featured in The Animation Show Vol. 4.
When larcenous real estate clerk Marion Crane goes on the lam with a wad of cash and hopes of starting a new life, she ends up at the notorious Bates Motel, where manager Norman Bates cares for his housebound mother.
The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.
Begotten is the creation myth brought to life, the story of no less than the violent death of God and the (re)birth of nature on a barren earth.
You Take Care Now, an early student film, is a perfect exemplar of Ann Marie Fleming's idiosyncratic vision and stands as one of her signature works. Made on 16mm, and incorporating found footage, original material, animation, and processed images (Vancouver's groundbreaking avant-garde cinema of the 1970s is a decided influence here), Fleming's film offers a visually dazzling, emotionally wrenching, oddly humorous account of two profound personal traumas.
Bunky Blum is picked on in school. His only peace comes during lunch hour, when he and his mentally ill Mother eat McDonalds and visit a talking train named Train. The 83 year-old train is now a caged monument in the center of a children's park. However, Bunky believes that the train will break out of its confines and save him from the bullies of the schoolyard. When Bunky realizes that the train is not magical, all hope is lost and Bunky has a moral melt down. In a fit of rage, Bunky punches a girl in a wheelchair. The unsympathetic move lands Bunky on the losing end of a full out brawl. Bunky's Mother witnesses the schoolyard violence and she erupts into her own fit of rage, which ultimately sends her back to the psych ward. In the end, Bunky is left without hope, without family and without security. He returns to the old train to make a final plea for vengeance. But Bunky's giant steal savior has not come for vengeance. Rather, it offers Bunky what he needs, a shush of peace.
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A boy is going through a mental health crisis, prompting his mother to seek help from an unlikely man. This man must set aside his Western thinking to save her son through an intense ritual.
A contemporary man in the eye of the cyclone created by information. He finds no support for his hands and feet. It’s like in a poem by Tadeusz Rozewicz (‘falling in every direction’), he turns to dust when his time finally comes.
A father must face his dark past when his gifted daughter has visions of a young girl reborn from her deceased mother. This award-winning metaphysical thriller combines elements of art house, avant-garde, surrealism, and experimental horror.
Norman Bates is declared sane and released from the facility in which he was being held, despite the complaints of Lila Loomis, sister of his most famous victim. Is he really cured, or will he kill again?
It is well known that the disposition of the images drawn by Escher are neither for animation nor for pre-animation; actually, quite the opposite. His images appear to be the carrying out of metamorphic dissolves. A bird gives way to the recognition of a house, which turns into fish, which turns into birds, and so on. Not a single flapping of wings takes place; everything is reiterated and fixed, becoming immersed in and re-emerging from a static continuum. All of Escher is an homage to one of the major animating forces of the cinema: the cross-dissolve. Precisely there, I found cinematic attitudes: in the house which turns into fish and in everything that transforms into something else. I gradually managed to figure out various types of non-existent sequences and then finally found myself dissolved, crossing over metamorphically. —P.G.
A spellbinding journey into the mind of an insomniac, who spends each night haunted by strange and wonderful illusions from another world.
A twinless twin struggles with her identity while a sheeted being attempts to rescue her.
An abstract experimental short film from Jordan Belson.
Video art piece by Michigan artist Gio Orlando.
This psychedelic horror short inspired by vintage cinema follows a raped girl's descent into derangement and makes the audience feel as claustrophobic as the character.
A socially awkward veterinary assistant with a lazy eye and obsession with perfection descends into depravity after developing a crush on a boy with perfect hands.
The beautiful world of Gaya is home to two similar humanoid species: Zeldons who are the furry majority residents, and Snurks, who are goblin-like outcasts. But suddenly all Gayans are facing imminent danger when a magic stone which protects their world, "the Dalamite", is beamed away by a mysterious force. Three Snurks immediately go after it, hoping to be the heroes for once. They are shortly followed by some standout Zeldons: Zino the trouble-prone popular guy & his sidekick, clever but somewhat cowardly inventor Boo, as well as rebel princess Alanta. Their journey ends up leading them all on a dangerous interdimensional quest to find the stone, while they must also figure out a way to get back to Gaya.
Animation, also of a new order in the recent series of short works. Mostly on black space, the figures in blue perform a very compact and jewel-like opera in surreal form, again to Satie’s piano music. Ideally, the film should be projected on a 30" wide white card sitting on a music stand, center stage of a large auditorium or music hall, with sound from the projector piped into the big speaker system. The film is most effective this way, but can be shown normal-size also