Once Upon a Line

A scientist has created her own android clone to replace her in the outside world so that it can face it for her.

The world's most loved fairy tale is back in a whole new fantastic imagining in Pinocchio. When a piece of pine-wood falls into the hands of the poor old toy maker, Geppetto, he carves it into a puppet which he names Pinocchio. To Geppetto's delight, Pinocchio comes to life - and like most little boys, he's full of reckless whims and wild ideas! His crazy escapades lead him into a series of madcap adventures from joining the circus to visiting the inside of whale! Along his journey, and throughout all the fun, Pinocchio learns to be considerate and courageous and learns what it takes to become a real boy.

While a couple walks along the river, hunters hide behind a hill and friends in the forest recall the Dancer of Clavesana, a metaphor of free love that slowly vanishes into the winter landscape

Our free culture anthem gets a fabulous arrangement by Nik Phelps. Vocals by Connie Champagne. Animation and song by Nina Paley.

An animated tribute to Jeff Krulik and John Heyn's 1986 video documentary classic, Heavy Metal Parking Lot. Remaining faithful to no-budget filmmaking, Supnet reconstructs her favorite scenes using cut-out characters made out of aged paper, glue and ink.

A dog has a cat inside him. The two fight to get on, with one's desires always getting in the way of the other's. However the conflict cannot go on forever and the two learn the hard way to find common ground and work out something for themselves.

It's a starry night in a poor neighborhood in Latin America. Óscar is sleeping in his room when a sudden wind wakes him up. From his window he sees a little goldfish in a dirty puddle gasping for air. Óscar will try to save the goldfish through a rampant adventure full of mysterious challenges.

This is the first letter addressed to you. A voyage to trace the vague images of memories.

Three young Inuits set off in search of a promised land to save their clan from starvation.

An illusion of 3 dimensions is achieved by a blending of mathematics and physics to carry the spectator through a new range of audio and visual dynamics.

This film is strongly rooted in its underlying mathematical structure which forms the basis for the images. The music by Jean Claude Risset is integral to the creation of this concert of space and time.

A single bird in flight is transformed, enhanced and interpreted so as to present a unique visual experience. From its original inception in a 128 frame black-and-white sequence it evolves by programmed reflection, inversion, magnification, color transformation and time distortion into the final restructured film as art.

Abstract images of frame-by-frame animation with subtle growing effects of crystals are enhanced by polarized colors.

Picture-processed photos from the artist-filmmaker’s family. Faces are abstracted in a divisionistic manner.

Music “Canzoni per sonar a quattro” by Giovanni Gabrieli, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz. Images generated by computer.

Computer generated images used as counterpoint to music “Fantasia & In Nomine” by John Ward, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz.

Escher-like images stepping through the frames to the music of a jazz group. Delightful–shows a depth in the imagery not accomplished by computer before.

A swift moving assortment of moving images. Filmed from a color TV monitor that was computer controlled.

Beginning with footage of sea birds in flight, the film image is then optically scanned and transformed by the computer. The geometric overlay on live random motion has the effect of creating new depth, a third dimension. Our perception of the birds’ forms and movements is heightened by the abstract pattern outlining them.

“Schwartz’ METAMORPHOSIS is a complex study of evolving lines, planes, and circles, all moving at different speeds, and resulting in subtle color changes. The only computer-generated work on the program, it transcends what many of us have come to expect of such film with its subtle variations and significant use of color.” – Catherine Egan