Drux Flux

To the toccata portion of Bach's "Toccata and fugue in D minor," we watch a play of sorts. Blue smoke forms a background; a grid of black lines is the foreground. Behind the lines, a triangle appears, then patterns of multiple triangles. Their movements reflect the music's rhythm. Behind the barrier of the black lines, the triangle moves, jumps, and takes on multiple shapes. In contrast with the blue and the black, the triangles are warm: orange, red, yellow. The black lines bend, swirl into a vortex, then disappear. The triangle pulsates and a set of many of them rises.

An unsuspecting, disenchanted man finds himself working as a spy in the dangerous, high-stakes world of corporate espionage. Quickly getting way over-his-head, he teams up with a mysterious femme fatale.

袋 Fukuro (Japanese for "bag" or "sack") is a 3-minute short film from 2001. It features Pyramid Head and a Lying Figure from Silent Hill 2, the Fukuro Lady, and many monsters from early sketches for Silent Hill 2. The film contains disturbing, surreal imagery.

An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.

An abstract animated short by Michael Theodore.

Three memories that become one. An attempt to merge heterogeneous materials: a film sequence shot in Rome, a photo from the 1930s, a noisy soundtrack. Fragmented lines, exploding bass frequencies and flickering.

Torn from their home by a hand in the sky, colorful entities seek freedom from a rigid binary in this short experimental animation.

In 1958, graduates of the Film School in Łódź – director Mieczysław Waśkowski and camera operator Adam Nurzyński – produced in cooperation with Tadeusz Kantor the short film Somnambulists. The colourful, painting-like moving image was an attempt at transferring the informel onto film stock.

Animated industrial movie about the steel industry.

The idea of JAM was conceived while I was attending the Ottawa International Animation Festival in 2008.After returning to Japan, I soon began making the film and completed it in four months.This film is based on a very simple idea: the increasingly varied the sounds, the greater is the number of creatures. I wanted to rid myself of the frustrating experience of making Devour Dinner, which was highly unsatisfactory from the viewpoint of the movement in the film. My intention in this film was to fill the screen with chaotic movements.

A colourful "fountain performance".

The mutating forms of Tensai Banpaku, or “Genius Expo” create a stunning abstract orchestra.

A man is horribly tortured by another who wants him to reveal where his girlfriend is hiding.

A man pays local children to bring him flies. After having cut off their wings and legs, he sticks them on the walls of his apartment. When a prostitute appears at his door, he sees in her the final piece to his work.

A couple are watching television together. Over time, the shows become more bizarre: a news report about the arrest of two terrorists reveals they have the same faces as the two spectators; in another, a female strips for the man and finally a politician demonises the couple and declares them enemies of the people. Panicked, the couple phone a television exorcist.

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.

In the darkness of a cave, one man who had never seen even his own figure found a hollow flooded with light. An expression of a chaotic world. This experimental graduation film is a mixture of different animation techniques

In this animated short, simple geometric forms as thin and flat as playing cards constantly form and re-form to the sound of the koto, a 13-stringed Japanese instrument.

This is no animation, it's one picture. Short experimental film by Mirai Mizue

This short experiments with the flow of oil ink over the surface of the water. Mizue manipulated the ink by blowing with straws or stirring with toothpicks and used stop motion animation techniques to shoot the resulting effects.