Chasing the Blues

After receiving the key to the city for their heroic efforts, Rocket J. Squirrel notices that Bullwinkle falls in love with a robotic moose. Unbeknownst to him, inside the moose is Boris Badinov, who, along with Natasha Fatale and Fearless Leader, are carrying out another plan to eliminate Rocky & Bullwinkle.

Bimbo becomes a long distance accordion champ and comes through with a load of credit.

The story of Nellie the Indian Chief's Daughter.

Shinji, Rei, and Asuka in their states at the end of “Evangelion: 3.0.” A post-Impact world.

The 25 minute film tells the tale of an ailing elderly woman named Itako who encounters a fox named Okon. The story opens with Itako lying bedridden, as she has for a long time. Okon enters her home and Itako tells the fox that he is welcome to take anything that he wants, for she has no use for anything anymore. Okon is delighted and in order to return the favour (the act of ongaeshi), Okon performs a magic jyōruri (a ballad with shamisen accompaniment) that heals Itako so that she is fit enough to walk again. Everyone is surprised by Itako's sudden recovery. She then hears of a hunter who has been badly injured and is near death. Itako hides Okon in the back of her shirt and has the fox sing the song while she plays shamisen in order to heal the man. This act of kindness is repeated for others until Itako's good fortune leads some to be suspicious of her.

In Nephtali, animator Glen Keane uses both film and drawing in order to depict the journey of a ballerina that is drawn towards a higher power.

Where Disney's version marginalized the darker elements of the novel, Gianluigi Toccafondo's adaptation brings them to the center. It's a film he cursed over and which took him three years to complete.

The Three Billy Goats Gruff: When a troll threatens to eat up the billy goats who want to eat the grass on the other side of the bridge, the biggest billy goat is the one who teaches the troll a lesson he'll never forget. The Three Little Pigs: When the wolf eats up the first and second little pigs, he'll learn the hard way that he shouldn't mess with the smartest pig of the three little pigs.

Based on the traditional American folksong, this compelling tale recounts the daring adventures of one family's escape from slavery via the Underground Railroad. This touching story captures all the drama of a perilous flight to freedom. Narrated by Morgan Freeman.

A chance encounter proves fateful for 2 robots mining on a desolate planet.

Everyone who enters a crime scene leaves something behind and takes something away. "Something Left, Something Taken" is an animated dark comedy about a vacationing couple's encounter with a man they believe to be the Zodiac Killer.

The adventures of Anatole, a suave and debonair French mouse, in a cheese factory.

A Gene Deitch cartoon about driving.

A montage of scenes that describe how people can be as bad as animals.

A young boy is transformed as he watches the Olympics on TV.

Animation film about a friendship between young Wolfy and Kapitoshka. Wolfy tries to learn how to be scary and threatening. But then he meets a drop of rain, Kapitoshka, which makes him realize that it is not necessary to be scary.

A wolf cub misses his friend Kapitoshka and wants to see him again and have fun with him. Kapitoshka is an unusual creature that is completely made of the water, which wears a funny beret and loves to sing and play. A letter brought by a crow will help shed light on whether Kapitoshka will be able to return to the wolf.

In My Gondola

A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s and the 1950s. Set to classical music by the likes of Bach, Saint-Saëns, and Shoshtakovich, and replete with rapidly mutating geometries, Bute’s filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute’s films were “composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.” Bute herself wrote that she sought to “bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.”

A wistful little “story-spirit” rides the wind to a child’s doorstep and invites her on a whistle-stop tour through the Latvian seasons. Guided by a gentle water sprite, they drift from spring showers and blue-flower meadows to roaring Midsummer bonfires, stormy autumn seas, and snow-bright winter nights. The imagery—pastel cut-out shapes that melt and reform—visualises verses by the poet Aspazija, while Zigmars Liepiņš’s folk-inflected score (sung by Mirdza Zīvere) turns the whole trip into a lullaby on loop: every tale enchants for a moment, then must move on to the next open doorway. In the end the child waves goodbye, knowing the fairy-tale will return whenever imagination cracks the door again.