Mushroom

Rose, a desperate mother takes her adopted daughter, Sharon, to the town of Silent Hill in an attempt to cure her of her ailment. After a violent car crash, Sharon disappears and Rose begins a desperate search to get her back. She descends into the center of the twisted reality of a town's terrible secret. Pursued by grotesquely deformed creatures and townspeople stuck in permanent purgatory, Rose begins to uncover the truth behind the apocalyptic disaster that burned the town 30 years earlier.

Cut up animation and collage technique by Harry Smith synchronized to the jazz of Thelonious Monk's Mysterioso.

Sketch Film #3 (Tomonari Nishikawa, 2006, 3 min., super 8, silent, 18/24fps, b&w, USA/Japan) The third film in the series, which starts with a sequence of paired images: a focused image and a blurred image of the same subject, which was caused by a diagonal camera movement. Later, it shows an experiment to produce an apparent depth by rotating an apparent shape. It was edited in camera and hand-processed afterwards.

In a department store in a town not far from Silent Hill, Heather goes to purchase an item commissioned by her father. After the initial meeting/clash with Douglas, a private investigator (who has some important revelations about the girl's past), Heather runs away, leaving the building. As soon as he returns, however, there no longer seems to be a living soul: instead of the normal buzz present in a shopping centre, now only a dark silence can be heard, broken only by her footsteps and the distant cries of terrible creatures lurking in the darkness. [A documentary about the making of the 2003 video game Silent Hill 3.]

Heather Mason and her father have been on the run, always one step ahead of dangerous forces that she doesn't fully understand, Now on the eve of her 18th birthday, plagued by horrific nightmares and the disappearance of her father, Heather discovers she's not who she thinks she is. The revelation leads her deeper into a demonic world that threatens to trap her forever.

Three books: a film festival catalogue, a dictionary, the Bible. Three works whose materiality has become obsolete by the digital dematerialization. A commentary on the fragility of culture.

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.

This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.

An abstract animated film inspired by the work of jazz musician Chico Hamilton.

Early Abstractions is a collection of seven short animated films created by Harry Everett Smith between 1939 and 1956. Each film is between two and six minutes long, and is named according to the chronological order in which it was made. The collection includes Numbers 1–5, 7, and 10.

We watch white shapes dancing on black background, which changes when the white shape fills up the screen completely, and black lines and figures bounce around on the now white background.

Exhausted hands struggling to reach the finish line.

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.

Animation using cutout animation to craft a bizarre science fiction experiment. Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery.

Man's rebellion against the world of the digits.

In this powerful abstract film with a soundtrack of African drum music, Lye scratched "white ziggle-zag-splutter scratches" on to black leader, using a variety of tools from saw teeth to arrow heads. The first version of the film won a major award at the International Experimental Film Festival Held in Brussels in 1958 in association with the World's Fair. Stan Brakhage described the film as "an almost unbelievably immense masterpiece".

100 basic images switching positions for 4000 frames.

A live action footage of a smiling, bespectacled (presumably) Western tourist set against the familiar cadence of an accelerating train revving up as it leaves the station sets the mesmerizing tone for the film's abstract panoramic survey of an Ozu-esque Japanese landscape of electrical power lines, passing trains, railroad tracks, and the gentle slope of obliquely peaked, uniform rooflines as Breer distills the essential geometry of Mount Fuji into a collage of acute angles and converging (and bifurcating) lines .

A visceral journey through dysphoria in the internet age.

Here the artist creates a world of color, form, movement and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) are subject to any conceivable interrelation and modification.