Automatic Writing

'Kiki de Montparnasse' was the unwary muse of major avant-garde painters of the early twentieth century. Memorable witness of a flamboyant Montparnasse, she emancipated from her status as a simple model and became a Queen of the Night, a painter, a press cartoonist, a writer and a cabaret singer.

The story told in Hisser was inspired by a true occurrence. In 2013, a young man in Florida was literally "swallowed up by the earth" when a cesspool suddenly opened up under his bedroom. The film's main setting is a bedroom by night. From the way it was shot, the viewer has the feeling of peering into an abandoned life-size dollhouse. Other sequences show close-up views of a young man lying on a bed with a tormented look on his face or cowering in a corner. The scene is accompanied by an exaggeratedly romantic song whose refrain – "It took me so long to get my feet back off the ground" – alludes to the loss of a loved one and a sense of abysmal loneliness. The song's emotionality contrasts starkly with the artificiality of the scene. The boundary between reproduction and reality grows fluid, and the virtuality – which the artist has carried to a near- perfect extreme – begins to crumble in view of the protagonist's physical and emotional frailty.

The final 17 years of American singer and musician Karen Carpenter, performed almost entirely by modified Barbie dolls.

An abstract experimental short film from Jordan Belson.

A short-animated film interpreting famous war photographer Don McCullin's contemplation on his professional experience and impact it had on his life. Frame-by-frame Charcoal animation.

A surreal, experimental, minimalistic animated film that dives into the inner recesses of creativity, imagination, longing and inspiration. Taking place from the somber point of view of a young wizard as he lives out his day, watching over a little town. Le Geniaque pays homage to Georges Melies and 1920s silent films in general.

After a great storm, is there silence?

In a transitional state, at the threshold of consciousness // fabricating and reminiscing //embracing and escaping // all from safe distance // letting go.

Experimental short film by Michio Mihara.

Sistiaga painted directly on 70mm film a circular (planetary?) form, around which dance shifting colours in a psychedelic acceleration matched by the soundtrack’s deep-space roar and howl. - Cinema Scope

Life drums the playfulness out of a boy as he grows up.

As technology accelerates, our species' collective imagination of the future grows ever more kaleidoscopic. We are all haunted by temporal distortion, perhaps no more than when we attempt to remember what the future looked like to our younger selves. As the mist of time devours our memories, the future recedes; each of us burdened by the gaping mouth of entropy. Yet, emerging technology provides a glimmer of hope; transhumanism promises a future free from mortality, disease and pain. Does our salvation lie in digital simulacra? We're here to sell you the answer to that question, for the low, low price of four hundred and seventy seconds.

Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.

This is a story of love seen from a square, in which a couple gets united, separated and rearranged again. A special kind of puzzle.

Anatomy of a moth

Filmmakers use archival footage and animation to explore the culture surrounding nuclear weapons, the fascination they inspire and the perverse appeal they still exert.

A marxist-leninist-maoist revision of the Allegory of the Cave, filled with talking animals who shall be late and bourgeois queens who would like to see you without head, exactly as Plato intended.

I turned my gaze to the various events in daily life and made this filmic diary in a manner as if confessing my feelings. Of course, since I was making the film, I wanted to depict these feelings and events with tricky techniques. I used various methods to shoot photographs of a relative's wedding, the landscape I see from window of my house, commemorative travel photographs and the like frame-by-frame.

Numerals on clear film from 1 to 1000."

The emotion of people easily changes. It is not easy to define what emotion is. We just feel it. To feel emotion is like to observe nature because nature always changes by time, sun, and wind. When we observe nature, the nature tries to say what our emotion is because the nature leaves the trace of emotion.