Dragonfly

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.

An exploration of the relationship between sound and picture inspired by the two lights (twi-light) found inside film projectors.

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.

The weird hand creatures undergo different transformations in synchrony with the music.

Citronella, a mosquito who faints at the sight of blood, nervously waits outside her first group therapy session, while the Pill Bug therapist, Dr. Pill tries to calm a neurotic group of bugs, each suffering from a mental-health issue: An OCD germaphobic Fly freaks when he runs out of hand sanitizer. A Dragonfly couple struggle with co-dependency; she's literally on top of him. A Grasshopper, addicted to coffee, is so jumpy, he launches himself in mid-sentence. A Praying Mantis who doesn't pray because she thinks she is God. A terrified Spider is deathly afraid of -- spiders. And, a perfectly-camouflaged Stick Bug complains that no one ever "sees" him. Throughout all this, Citronella battles her urge to flee - while Dr. Pill implores her to share her "embarrassing" problem.

Partly figurative, partly abstract, Drux Flux is an animation film of fast-flowing images showing modern people crushed by industry. Inspired by One-Dimensional Man by the philosopher Herbert Marcus…

The film was produced applying mixed techniques on Super 8 film support.

A colourful "fountain performance".

Polish avant-garde animation with changing colors and shapes that suggest birth followed by heavy distortion and building to a face in the swamp.

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 .

Ki-No-Ko is a surreal five-minute short film published on Art of Silent Hill, Lost Memories: The Art & Music of Silent Hill and The Silent Hill Experience.

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 attempt to visualize higher dimensions and unearthliness, taking into account these concepts' heightened awareness, when attempting to process or predict the end of the world.

Lulu the dog gets a job at the local convenience store and stays up all night cleaning the back room. Short created for Adult Swim Smalls.

Three memories that become one. An attempt to merge heterogeneous materials: a film sequence shot in Rome, a photo from the 1930s, a noisy soundtrack. Fragmented lines, exploding bass frequencies and flickering.

A mathematical play on one repeated movement. It imparts a sense of possibilities: that something simple can produce complex and unexpected patterns. As with an atom, the variety of possibilities from a base movement is potentially infinite.

Claire is composed of digital scans and blow-ups of a series of three ink-on-paper artworks created in 2012 by French-Spanish researcher, publisher and artist Claire Latxague. While collecting drawings, written documents and other printed materials for a (yet unreleased) project called Un film de papier, I’ve stumbled upon Latxague’s artwork, entitled À la renverse. The blow-ups were made in an attempt of unearthing cartographic imagery in abstract compositions.

PUEDO VER TODO MENOS MIS OJOS

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.”

Confined to an endlessly burning waiting room, a dying sedentary woman experiences herself blurring in and out of her body. In her last remaining fragments she tries to make amends with her spirit before her remaining fragments either decay or create.