Shadow

The Hungarian word "alkotás" (artwork) has a dual meaning – it can refer both to the process of creation and to the finished artwork. The film tells the story of how a canvas comes alive, how playful, abstract forms are created, each one carrying its own human narrative.

A comfortable rhythm composed of light and shadow. Director Ogino-style absolute movie which freely manipulates geometric figures.

AGULHA

Dilution is an experimental short film that explores the transit between resistance and (di)ssolution, between holding and releasing and a path towards obsessive repetition. They are layers, exposed pores, matter that oscillates between remaining or disappearing. The sound is not a background, but a puncture: friction, tearing, water that drags what still persists. A sensorial testimony of what refuses to vanish completely.

One of Rimmer's early 2000s video works which he made by hand-painting 35mm film, running it on a flatbed viewer, and shooting it off the screen with a video camera to then subject it to further manipulation.

Dissonant selves dancing around opposition and harmony.

A vibrant animation by Patricia Marx. Preserved by the Academy Film Archive in 2000.

A silent figure known as The Assassin travels through a nightmare underworld of tortured souls, ruined cities and wretched monstrosities forged from the primordial horrors of the unconscious mind of Phil Tippett, the world's preeminent stop-motion animator.

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.

Direct animation on 35mm.

This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.

A surreal exploration of the war in Bosnia told through the unbreakable spirit of seven of her people whose strength to leave was as powerful as the fight to stay. Through the lens of diaspora, the film captures not just the weight of displacement, but the defiant act of survival and the unwavering pursuit of home, no matter where the journey leads.

When a massive alien flower known as "Darol" unexpectedly erupts in a deadly event, unleashing monstrous creatures that decimate the population of Japan, Rita is caught in the destruction—and killed. But then she wakes up again. And again. Caught in an endless time loop, Rita must navigate the trauma and repetition of death until she crosses paths with Keiji, a shy young man trapped in the same cycle. Together, they fight to break free from the loop and find meaning in the chaos around them.

A seashell belonging to a northern moon snail twists and turns 360 degrees in multiple wooden homemade contraptions and through contact sheets at a progressively rapid pace, before finally synthesizing the gnomic growth of the spiral shell and exploring the phenomena of virtual and real space and time. Directed by Al Jarnow.

In EIN TRAUM DER LIEBENDEN [A DREAM OF LOVERS], Monk meanders through a maze of Minoan bull-leaping, satyrs and revelatory rainbows.

It is said that if a man is fading away, he sees his life running quickly in front of his eyes. What does a hundred-year old film strip see before it gives way to digital vehicles? Does it see broken frames, scratched film stock or something else? This is a film about time and its ephemeral nature.

What could possibly be more important than feeding your daughter?

The Autobots must stop a colossal planet-consuming robot who goes after the Autobot Matrix of Leadership. At the same time, they must defend themselves against an all-out attack from the Decepticons.

I HAD A... (DREAM) unfolds as a trip where dance, stop-motion animation, sound, and imagery interplay, far from established dimensions and expectations. Mushrooms immerse the viewer in a dreamlike space, where the film becomes a site for deviation and disruption.

This film was made out of the capture of a live animation performance presented in Rome in January 2005 by Pierre Hébert and the musician Bob Ostertag. It is based on live action shooting done that same afternoon on the Campo dei Fiori where the philosopher Giordano Bruno was burned by the Inquisition in 1600. A commemorative statue was erected in the 19th century, that somberly dominate the market held everyday on the piazza. The film is about the resurgence of the past in this place where normal daily activities go on imperturbably. The capture of the performance was reworked, shortened and complemented with more studio performances.