Dolls

Jack wakes up from a bad dream only to find elements from the dream present themself in reality.

A surreal post-apocalyptic drama by Patrick Kennelly inspired by the clipping. album “Splendor & Misery”

Alaska is a wordless experimental film with a simple, droning soundtrack that sounds as if it is a piece for violin and refrigerator hum.

Mostly dark, rejecting images which are repeated. A stone wall, the chamber of a revolver which is, at first not recognizable, a close-up of a cactus. The duration of the takes emphasises the photographic character of the pictures, simultaneously with a crackling, brutal sound. (Hans Scheugl)

We were slightly feverish when we started working with a particular color process. At the development, we had obtained wonderful tones of blue and yellow as well as colored solarizations. Thus, this process was used for 15 days then the fever subsided. At that time they listened to the music of Gilbert and Lewis, and that is why they put a piece on the soundtrack.

A film that places the bright and dark sides of life close together. From an understatement beginning, the movie drives up to an ecstatic highlight with a love act between two young people. The orgasm becomes an enormous image flow into the crematorium's death machine.

Using both found footage and her own material, Nina Fonoroff recollects the memory of her father. Constructing and deconstructing a portrait, she weaves family and friends’ remembrances with an inquiry into her own work process. Her searching attitude suggests that with the loss of her father came a question of the role, not of a particular father, but the father figure—a refusal of authority, and an appreciation of her father’s cycles of learning, teaching, learning. As Danny Kaye, playing Hans Christian Andersen, tells a group of children the story of the piece of chalk that saw itself as a the source, not the transmitter of knowledge, one senses Fonoroff’s sorrow at the loss inherent in the film image, and a yearning for the source of the image, not just its projection.

Burford met Breer in February 1992 and filmed his actions. Breer manipulates some of his mutoscopes: he leafs through some cards of his film in the making, Sparkill Ave! A dome-shaped sculpture slowly moves across the space.

This found 8mm film of underwater ballet has a red rust effect flowing through it like living fire.

An experimental short film

A meditative journey, using and manipulating archival silent film footage, that investigates the look of the "New Woman" in Chinese silent screen.

Mix of arthouse, comedy, horror. A man who has committed numerous crimes rescues a dog. An unique experimental movie in which a dog who died in a traffic accident after being tossed around by humans is reborn as a heretic and attempts revenge on humans. Under the guidance of the devil, he is reborn as a scarecrow to bring the Blood Festival. A 35mm independent film by the director who loves to make movies, but is not interested in professional film directors. The director who was shocked to see a picture of a dog abused and abandoned by humans, devoted his passion to this unique work that took seven years to complete.

The Boyg is the voice within that whispers go around, preventing you from facing yourself, suffocating progress and initiative. A six minute visual and musical remix of Ibsens Peer Gynt, Norwegian Folklore, Edvard Griegs composition, paralyzing panic attacks and The Great Boyg itself who finds us all.

Hallo Mabuse captivates through its reduction, in which a conspiratorial narrative takes place, but even more so, the images themselves appear ambiguous, obscure, untrustworthy. A nod of the head, which seems treacherous in its mechanical repetition, meets the profile of a bearded man who does not appear to react at all in a suggested counter shot. The slight flickering of the image further intensifies the impression of an illicit agreement, of witnessing a crooked handshake. The ringing of the unseen telephone and the constant ticking of a clock lend the events a limited temporality. Something is running out, and in doing so, is also already reaching its end, a ghostly final act, which is anticipated by an explosion and breaks off with the sound of a falling guillotine.

All images were shot on 16mm film in the shadow of the Ryman Auditorium on Lower Broadway, a section of Nashville that has for decades attracted country music fans to its honky tonk bars. The visual effects were composed in-camera, while shooting on the street. This film was supported in part by the Tennessee Art Commission.

A chemical love story.

Exploring the musical concept of "release," this film is a haunting found-footage study in the plurality of visual and auditory meanings of the term. A series of collaborative works pairing artists working in visual and auditory mediums, the Études meditate on individual musical concepts through experiments with sound and film. Étude 1a: Release (I) is the first in this series and is directed by filmmaker Russell Sheaffer and composer Aaron Michael Smith.

Filmed during the production of the Columbia Pictures western "Mackenna’s Gold," this short work presents a non-narrative visual study of the Arizona desert. Rather than documenting the film set itself, "6-18-67" assembles landscape images, time-lapse photography, and ambient sound into an abstract record of place and duration.

In a dry, flat desert, five new humans grow from under the soil around a crow and a chair, which calls to them.

Eye candy as a special treat. Let Your Light Shine is the ultimate Spectrum Short film, a photokinetic stroboscopic spectacle for spectacles. A work in the tradition of the absolute animation film of the 1930s, which requires prismatic glasses to achieve the maximum result.