Animag credits

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

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

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.

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.

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.

AGULHA

Composed entirely of AI-generated visuals and providing an abstract representation of the evolution of AI video, processed entirely through a VCR.

Breathe deeply: in 3 years, your molecules will circle Earth, as today’s oxygen came from nature.

What could possibly be more important than feeding your daughter?

After a threesome proposal, Beatrix drinks cranberry juice non-stop hoping it will improve her sexual life.

In Flesh Flows we see a balance of Beckett’s keen drawing ability, in the probing erotic forms, and his technical acuity, which transforms the carnal images into a compelling, transcendent experience. Preserved by the Academy Film Archive in partnership with iotaCenter and National Film Preservation Foundation in 2007.

In a hot, deserted neighborhood on the outskirts of the city, three kids and a dog rest in the shade of a tree. The deep, drowsy hum of siesta is in the air, but the calm is broken by small cracks in the everyday routine. Suddenly a strange light floods everything, and time seems to shatter.

Direct animation on 35mm.

In 2057, a smart house remains standing in a world without humans after a nuclear war, along with the robots inside it. The robots continue their daily routines meaninglessly. While humanity has been destroyed by a power of its own making and greater than itself, this artificial order, in parallel, is also unable to withstand the greater force of nature for long.

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.

A porcelain doll’s explorations of a dreamer’s imagination.

16mm color work by Stan Vanderbeek that takes his work away from the cutups and the commentary and lands him in the psychedelic and abstract. Opticals, repetitions, camera moves and zooms are what make up the bulk of this exploration into fluids. The results bridge that realm between hangout art piece and intersteller stoner trip.

Utilizing super 8mm and an economical shooting method of quick, short shots building idiosyncratic rhythms via rapid editing techniques, time, nature, and even the body folds in on itself. Everybody Dies (2020) is a poetic journey into the desert. It’s a reflection on the nature of death as something not to be feared, but embraced as a part of a personal and universal human experience. Super 8mm.

Non-Sequitur? Malapropism? — Who Knows…

Referencing the Nazi regime's methodical restriction of jazz through their "10 Rules for Dance Bands," this film demonstrates progressively censored variations of "Minnie the Moocher."