Shadow

"We Go Past Future" is an experimental paper collage film by Anna Malina. The film reimagines a series of Soviet films from 1919 to 1953, blending them into a unique visual narrative.

In 1944, Master Sergeant Robert Steven Savage was betrayed by one of his fellow soldiers, Krieger, a double-agent for the Axis Powers. He had Savage's entire squad killed and used him for various genetic experiments. Savage was then cryogenically frozen and sealed inside a secret bunker. 50 years later, G.I. Joe discovered the hidden bunker, Savage now has super-human strength, speed and agility and is in charge of the Screaming Eagles. Krieger is alive and known as General Blitz, leader of the terrorist organization the IRON Army. Sgt. Savage and his Screaming Eagles must stop him!

Sarah and her two cats go about their separate lives. The cats have strange dreams about their desires, and Sarah develops an unshakable paranoia that something is wrong with them. Sarah's paranoia bleeds into her social life, and her two cats have their dreams come true.

undressed

This experimental short documents the clash, sometimes obsessive, sometimes glorifying, between humans and their mechanized environment. Using photographs, the animator creates varying perspectives through optical manipulation and changing colour, achieving bold and provocative effects.

A person living in Liberty City goes to work, have some food & gets back home.

Martín, a young urban raver, is involved in a strange accident on the road on his way to a party in the middle of the Argentine Pampas. Finding refuge in a mysterious country grocery store and sheltered by two strange locals, Martín's paranoia begins to take over him. As the hours progress, his perception begins to distort, unleashing disturbing visions that will lead him to confront the supernatural forces that hide in the night.

An important sensory organ, the eye, is damaged. The exhausting healing process takes us on an inner journey full of pain, fragility and mental unrest, in which even superstition and witchcraft seem to have an influence on recovery.

An experimental, non-sensical comedy about bringing a stone age man back to our time, made with the app “Plotagon”.

Peter Larsson’s Keyhole Conversation draws the eye down to the small gate of the camera. From there, through quivering and percussive forms of direct and stop-motion animation, the eye begins to experience the scale of an image anew. At times segueing into a flicker, but maintaining a charmed form of attention to the marks of pencils and the channels dredged in emulsion by a paintbrush, all to a curious soundtrack of pulses and bleeps.

A 16mm archive from 1964 intervened as an emotional diary during the first three months of the COVID-19 pandemic is the basis of this film, reinterpreted in the montage of the sound design, in which the images are reinterpreted, emphasizing the soundscape of the protests from 2020 to 2023 in the streets of Cajamarca, Cusco and Lima, three regions of Peru, questioning the constant political and social crisis.

This experiment was a “prestige advertisement” for Shell Motor Oil. As conventional animation became dominated by Walt Disney, many European filmmakers turned to puppets as an alternative, and Lye enlisted the help of avant-garde friends such as Humphrey Jennings and John Banting to make the amusing puppets. Exploring the still-complex color process, which involved the combination of three separate images, Lye creates such a vivid storm scene that reviewers hailed it as “proof that the color film has entered a new stage.” The music is Holst’s The Planets. - Harvard Film Archive

Lye completed his last great film a few months before his death at the age of 78. The film returned to the black-and-white techniques of Free Radicals. Lye created what he called “vibrant little images” or “zig-zags” with a sense of “zizz”. The clusters of small scratches gave the film a unique texture – the images looked rough but were in fact extremely subtle. The title Particles in Space referred to flashes of energy of the kind sometimes seen by astronauts in space. The soundtrack combined “Jumping Dance Drums” from the Bahamas with drum music by the Yoruba of Nigeria and the sounds of Lye’s metal kinetic sculptures. The opening titles demonstrated Lye’s mastery of the scratching of letters and words on film, a method imitated by other film-makers such as Stan Brakhage.

Lye created a series of scratched images in the 1950s – more regular or geometric than his usual style – to accompany Rock ‘n’ Rye, a track by jazz guitarist Tal Farlow, but he did not get far with the editing. He returned to the material in 1980 but died before it was completed. His assistant Steven Jones finished the film under the supervision of Lye’s widow Ann, who had been closely involved with all of Lye’s American films. - Harvard Film Archive

The sun’s energy circulates throughout the earth, feeding the cycle of life. Everything is connected in a natural loop, which repeats, like the circular discs of magical optical toys. This perfectly balanced rhythm is disrupted by human excess, throwing the cycle out of orbit and temporarily stopping the circulation of energy in nature.

Theodore Ushev’s acclaimed 20th century trilogy concludes with this brilliant fusion of 3D and Russian constructivist-styled animation. Recycling elements of surrealism and cubism, this animated short by Theodore Ushev focuses on the relationship between art and war. Propelled by the exalting “invasion” theme from Shostakovich’s Leningrad Symphony (No. 7), the film presents imagery of combat fronts and massacres, leading us from Dresden to Guernica, from the Spanish Civil War to Star Wars. It is at once a symphony that serves the war machine, that stirs the masses, and art that mourns the dead, voices its outrage and calls for peace.

SPEED is the result of an artificial intelligence transforming bin footage into something beautiful in order to free the planet from pixel pollution. By video recycling trash shots into video art using the latest algorithm technology, visual art may help to understand our limited resources on earth and how to use them in a respectful manner. Every day we produce millions of clips sharing them on social media without even noticing anymore how much pixel garbage we create. At the same time, we produce every day millions of tons of plastic waste, polluting our environment without even noticing it anymore. SPEED wants to be a symbol of change as we are running out of time.

A short film that mashes up scenes from the Disney Winnie the Pooh with dialogue from Apocalypse Now.

Somewhat based on Desmond Morris's fascinating book of pop anthropology, this partially animated satirical docudrama produced by Playboy Magazine publisher Hugh Hefner, traces the evolution of human kind and offers insight into the reasons why we behave the way we do. Though often dealing with sexuality, nothing in the film is terribly offensive or graphic. A prime example of mainstream experimental film-making from the early 70's featuring a young and breathtakingly lovely Victoria Principal.

In war, people's lives are at stake; in this world, people are the object of a child's whim, which can lead many to break their worldview... literally.