Whem?

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.

In a lifeless urban landscape where time itself has stopped its crawl, a mad ballet is commencing and a newly hatched butterfly is about to die.

LAND is a fluid series of formal land animation experiments based upon the imprint of landscapes in various locations and intuitive interpretations of those movements. Shot in New York, Thimble Islands Bear Island, Connecticut, Armstrong Redwoods, Sonoma County, California, Hastings, England. note* (part of the EYE Filmmuseum Permanent Collection)

Trapped in his nostalgia, a sad little ghost is unable to pass through the liminal space he occupies.

An individual finds that the world that intrudes upon his personal life cannot be escaped, and he turns to the next generation.

Begins as a whimsical piece with 'sheets' of lines running down the screen, progressing into more and more complex geometic patterns but without deviating from the basic precepts of 'dot and line' animation. Jazz piano on a lazy Sunday afternoon, and a spring color palette. -- Stephanie Sapienza. Preserved by the Academy Film Archive in 2001.

Short animated Hungarian film. Based on works of Hungarian avant-garde artists: Wahorn András, fe Lugossy László, and ef Zámbó István.

A computer animation in which the camera circles around an architectural structure, only to penetrate its center a moment later. The interior turns out to be an orderly tangle of a huge number of connections. Somewhere here, new energy is born. Electronic, pulsating music sets inanimate matter in motion, and it begins to live a life of its own. The camera closely follows its movements, taking the viewer on a hypnotic journey full of surprises.

"Marx was born in Queensland, Australia, and was a landscape painter and model there before moving to San Francisco. However, when she arrived, she found herself in the midst of fascinating non-objective painting and filmmaking activity. She was greatly influenced by the work of Harry Smith and Jordan Belson, and changed her own style to non-objective, receiving graphic inspiration from Jungian brain drawings, symbols in the occult sciences, and the design used by Eastern cultures, all of which being important elements in the San Francisco school mystical school of non-objective art." -Robert Pike, A Critical Study of the West Coast Experimental Film Movement. Preserved by the Academy Film Archive in 2000.

Minimalist, geometric shapes are set to processed found noises in a film that takes familiar noises and makes them strange.

A child, a cat, a starry night but, in this world of innocence, dream and magic, obscure forces of evil awaken. This animated short revolves around the adventures of a young, horned boy and a group of six devil-like vermin that can combine themselves to make one large creature.

Schwartz reordered and combined angular contours, broken planes, and distorted proportions in her own pictorial structures in an homage to Picasso's style.

Abstract shapes morph in and out of focus.

Filmed on 16mm film, this visual expression is rooted in its archival materials and backed up by the poem by Hans Magnus Enzensberger. It speaks of the forgotten people, their lives and their deeds. These two Archives have been found on the flea market in Zagreb. One is of a famous architect and the other one is of a famous composer. This film ponders on this occurrence, on the vanishing of and forgetfulness of humans.

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.

Gan Escapism is an experimental short film by Ukrainian-born artist Anna Malina. The film was crafted using a Generative Adversarial Network (GAN) to create a unique and captivating visual experience that blends abstract illustrations and evading sounds to create a surreal and thought-provoking piece of art.

A visual reinterpretation of dance and animated found footage.

A washed up actor performs night after night in a grimy theater to a nearly empty audience. However, everything changes when a clueless dog jumps on stage.

A corridor of an apartment is transformed into a claustrophobic and vertiginous vortex that swallows and imprisons you in an infinite fall through a mise en abyme: it’s a pure enclosure inside the image world, it’s the Descent into the Maelstrom.

The second essay about still dominant dark aspects of our modern society. It is conceived as a surreal anti-patriarchal thought experiment and raises important questions about gender, power, and social change, prompting us to reflect on how historical patterns of discrimination and oppression might be either repeated or overcome in a reversed gendered world. It challenges the viewer to confront their own assumptions and biases, and to consider the possibilities of a more equitable society.