Sounds Good

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 duo of street performers learns how sound and picture work together to create amazing cinema experiences.

Doodles keep dripping down from the mouth of an idiot.

"Toot!" "Tick!" "Chirp!" Onomatopoeia is introduced in this "soundsational" adventure. To learn the importance of sound in the world, Peter and Jessica accept Figment's invitation to go with him into Soundspace where they unlock the power of words and the magic of their imaginations. By journey's end, our intrepid explorers learn that language and sound have rhythm—and that the five senses may be used to explore the world around us.

Fantaisie érotique

Referred as the actual first Mickey Mouse short. Inspired by Lindbergh's flight from New York to Paris, Mickey builds a plane to take Minnie for a trip.

A mushroom embarks on an epic adventure to find its purpose in life.

La Maison en Petits Cubes tells the story of a grandfather's memories as he adds more blocks to his house to stem the flooding waters.

An anthology of one-minute films created by 51 international filmmakers on the theme of the death of cinema. Intended as an ode to 35mm, the film was screened one time only on a purpose-built 20x12 meter public cinema screen in the Port of Tallinn, Estonia, on 22 December 2011. A special projector was constructed for the event which allowed the actual filmstrip to be burnt at the same time as the film was shown.

Be better and more beautiful than you were before.

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.

Bill struggles to put together his shattered psyche.

Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film.

Set in 80’s-Britain, when a group of rowdy teenagers trek into an isolated forest, they discover peaceful mushroom creatures that turn out to be an unexpected force of nature.

The sad and happy times of a young girl and her bear doll, a young mouse and his family, a sycamore tree, an old lamp post, a hoodlum moth and an alleyway full of posters coming to life.

Jankovics's adaptation of the eponymous play is divided into multiple parts, and depicts the creation and fall of Man throughout history.

Prelude 14 begins in deep brilliant red which darkens into deeper reds and lavender shapes, disrupted by a variety of colors settling into browns and grays and shapes most rock-like, all of which is then shot-thru with sufficient yellow to break up all hard-edge form and give a molten aspect to the mixtures of shapes.

In this extraordinary short animation, Evelyn Lambart and Norman McLaren painted colours, shapes, and transformations directly onto their filmstrip. The result is a vivid interpretation, in fluid lines and colour, of jazz music played by the Oscar Peterson Trio.

ĀTMAN is a visual tour-de-force based on the idea of the subject at the centre of the circle created by camera positions (480 such positions). Shooting frame-by-frame the filmmaker set up an increasingly rapid circular motion. ĀTMAN is an early Buddhist deity often connected with destruction; the Japanese aspect is stressed by the devil mask of Hangan, from the Noh, and by using both Noh music and the general principle of acceleration often associated with Noh drama.

It is well known that the disposition of the images drawn by Escher are neither for animation nor for pre-animation; actually, quite the opposite. His images appear to be the carrying out of metamorphic dissolves. A bird gives way to the recognition of a house, which turns into fish, which turns into birds, and so on. Not a single flapping of wings takes place; everything is reiterated and fixed, becoming immersed in and re-emerging from a static continuum. All of Escher is an homage to one of the major animating forces of the cinema: the cross-dissolve. Precisely there, I found cinematic attitudes: in the house which turns into fish and in everything that transforms into something else. I gradually managed to figure out various types of non-existent sequences and then finally found myself dissolved, crossing over metamorphically. —P.G.