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This animation can be watched in 2D or using Chromadepth Glasses in 3D.

When young dockworker Jude leaves Liverpool to find his estranged father in the United States, he is swept up by the waves of change that are re-shaping the nation. Jude falls in love with Lucy, who joins the growing anti-war movement. As the body count in Vietnam rises, political tensions at home spiral out of control and the star-crossed lovers find themselves in a psychedelic world gone mad.

Forced to confront adulthood, a teenage girl detached from reality prepares to leave her childhood home.

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, spawning arrays of divisional articulations in time and space.

Artist Htoo Lwin Myo excavates the lesser-known and wildly joyful history of Myanmar’s horror and genre film industry in the 1950s that has persisted through political turmoil and archival neglect, told directly by the people who made it.

A horse goddess gives birth to three powerful brothers who set out into the Underworld to save three princesses from three evil dragons and reclaim their ancestors' lost kingdom.

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 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.

Fleshworm Dreams is a trippy, kaleidoscopic visual experience that pairs with an abstract, experimental nature record. Think of it like looking through a constantly shifting kaleidoscope—vibrant colors, strange shapes, and mesmerizing patterns swirling together in a beautiful, almost hypnotic way. It’s a chill, weird, and visually stunning ride, where the lines between nature and imagination blur.

Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.

The story of Adam and Eve with jazzy music. Short experimental animation without words.

Summer of 1999. Aspiring filmmaker Nik's search for love intertwines with a fantasy western he's writing, and Sapna, a visitor from India. As they navigate love, identity, and their pasts, they find the courage to embrace their future.

A lone camper hears strange noises coming from the depths of the lake.. Will she stand her ground or will she give in to their fishy temptations?

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.

An extraordinary young girl discovers her superpower and summons the remarkable courage, against all odds, to help others change their stories, whilst also taking charge of her own destiny. Standing up for what's right, she's met with miraculous results.

High Voltage is constructed from footage James Whitney contributed to Belson for use in one of his Vortex concerts.

Burr creates a slow, liminal illusion in black-and-white, switching perspectives and matrices and crescendo-ing in time with Christopher Doulgeris’ portentously pulsating soundtrack.

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.

Animated work detailing the unrequited love that a line has for a dot, and the heartbreak that results due to the dot's feelings for a lively squiggle.

A surreal short animation by Mirai Mizue.