Shadow

Máquinas de palabras

The experimental animated film Song of the Flies (El Canto de las Moscas), translates the desolation caused by the violence of the Colombian armed conflict through the poetic voice of Maria Mercedes Carranza (1945–2003) and the audiovisual dialogue between 9 Colombian women. In 24 places, as a transit over the course of a day (Morning, Day, Night) a map of terror is drawn where massacres took place in Colombia in the 1990s. Archival images, the artists’ personal memories and the use of loops and analogue materials bring to life the landscapes ravaged by violence and build a polyphony of memory and mourning, a universal song of pain.

The second essay about still dominant dark aspects of our modern society. It is conceived as a surreal anti-patriarchal thought experiment and raises important questions about gender, power, and social change, prompting us to reflect on how historical patterns of discrimination and oppression might be either repeated or overcome in a reversed gendered world. It challenges the viewer to confront their own assumptions and biases, and to consider the possibilities of a more equitable society.

A teacher spends a day in their classroom where nothing is what it seems.

A young, wannabe streetwear influencer dying to make an impact on the world gets a lot more than he bargained for when a shy but obsessive fan decides to help him become a star for his own gain at the expense of everyone else involved. Macabre Metrics is an almost feature-length, visually experimental exploration into the world of image culture set in Seoul. Shot entirely on iPhone with animated sequences.

Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.

While the battle rages around an emptied city, one citizen battles loneliness through a variety of daily rituals.

A room-scale VR creative documentary that uses multi-narrative and volumetric live capture to take the viewer on a journey into the mind of Lisa as she remembers her lost love, Erik. Within an empty void, fragments of past memories appear of their life together.

A seamstress is waiting for her husband to come back from the war.

This animated short is a play on motion set against a background of multi-hued sky. Spheres of translucent pearl float weightlessly in the unlimited panorama of the sky, grouping, regrouping or colliding like the stylized burst of some atomic chain reaction. The dance is set to the musical cadences of Bach, played by pianist Glenn Gould.

Derived from an installation, an asymmetrical orchestration of "motion paintings" pushing the limits of abstraction in the digital age.

Animator Ryan Larkin does a visual improvisation to music performed by a popular group presented as sidewalk entertainers. His take-off point is the music, but his own beat is more boisterous than that of the musicians. The illustrations range from convoluted abstractions to caricatures of familiar rituals. Without words.

Abstract computer animation set to autoharp solo music composed and performed by Jordan Belson

An experimental short from Oskar Fischinger

A personal experimental exploration of the book of Psalms in the Holy Bible

An old woman is carrying shopping bags. A child with a gun is riding a scooter. Birds are flying. A city is falling. A party is lit.

Short animation by Alvise Renzini inspired by a C.G. Jung's dream

Autoportrait

This engaging series of childhood recollections tells of an unconventional school in Tokyo during World War II that combined learning with fun, freedom, and love. The school had old railroad cars for classrooms and was run by an extraordinary man – its founder and headmaster, Sōsaku Kobayashi – who deeply valued children's independence, and who was a firm believer in freedom of expression and activity.

Experimental video art set to the track "Place I Know/Kid Like You" by Arthur Russell.