Sag Es Nicht

Twenty images of a camera running next to a chemical platform and capturing abstract light throught improvised gestures and asymmetrical motion

À TOA

Recortes - 20240315

Vídeo de Um Minuto

Stop-motion experimental short where two men communicate with one another, talk on the telephone, smoke cigarettes, and contort themselves. Produced 1987 and released in 1988 on the VHS compilation Fat of the Land, released via Factory Records video imprint IKON. "Here is the first tape of a new British cinema which should be seen by everyone who loves film. The official British cinema is truly dead, alive only in admens bought dreams. This is the way to go."- Derek Jarman

Body and Landscape is the exploration of the world of a dancer, who finds in her body the best way to experience the world. Above all, the short film alludes to the cycle of life, where there is a beginning, a middle and an indication of the end. The construction of the film's visual and sound landscape is developed from two narratives, which communicate simultaneously. One that starts with the dancer, who uses dance as the main means of expression and that follows a chronologically organized direction in the narrative and another that starts from visual plans based on nature, without obeying a temporal logic, and that refer to the story by Hans Christian Anderson.

An exiled magician finds an opportunity for revenge against his enemies muted when his daughter and the son of his chief enemy fall in love in this uniquely structured retelling of the 'The Tempest'.

1977 Czech experimental short by Petr Skala

Ocean was a girl and now just a paper head. Her brother reminisces the times they shared during their childhood, a sorry experience that birthed emotional scars.

Protective Coloration shows Fisher seated at a mottled table. He wears short-sleeved hospital garb, surgical green ‘scrubs’. Nose-clips block his nostrils while a mouth-guard that looks like fake lips covers his mouth. Over the course of 11 minutes he masks his face and covers his hands with bright gear in colours that accumulate to resemble those of the standard reference chart: he puts on orange eye-caps, then a yellow bathing cap; covering his nose and mouth and the gear already there, he dons a black gas mask; a silky black sleeping mask voids his already covered eyes, a cyan blue bathing cap caps the yellow; yellow rubber gloves snap on his hands and forearms; puts on cyan eye goggles, then struggles with yet another bathing cap, hazmat orange, over the other two. A silvery transparent shower cap tops the caps, itself topped by a plastic green helmet. Finally heavy-duty magenta gloves hide most of the yellow rubber. Preserved by the Academy Film Archive in 2008.

A Short Film focusing on the urge to escape from the rabbit hole of depression

Reynivellir is a representation of the transit that is generated when approaching the art work, described with visual games that can well be evoked by the same brain when witnessing the impossible figures of Jose María Yturralde. Reynivellir is also a beach in a country that is a musical sonnet, and this is so because the mental image does not always connect the articulated parts of a sensation, it is systematic, but aleatory, and it is from these notions of the field of observation, that it approaches and moves away from understanding, linking and unlinking forms, movements, sounds, sensations and knowledge.

Exploring love's complexities, an experimental film captures a woman's brief yet significant journey, prompting her to break free and embrace newfound liberation

A woman on the run from the mob is reluctantly accepted in a small Colorado community in exchange for labor, but when a search visits the town, she learns that their support has a price.

Colourful lines and geometric figures move and change to the notes of a disjointed Wilhelmus [Dutch national anthem]. As the film progresses the disjointed music finds its way back to the original and flowing performance of the national anthem. The colours and figures move simultaneously into the shape and the tricolour of the Dutch flag.

M Soup, (2023) by Stephanie Mavi Garcia Panclas (SMGP), is their first experimental short film. M Soup, follows the character ‘M’ played by SMGP themselves, in which they play around with appearing hyper-masculine and hyper-feminine. This experimental short film can have as many layers as there needs to be or none at all. The goal is for it to be visually confusing and jarring yet have bits and pieces of meaning.

An experimental re-edit of Jack Frost, starring Michael Keaton.

Ordinary people of both sexes, and of varying ages, races and ethnicities, tell stories that sound familiar. But each is a construct to plumb reality in a considered, theoretical, and, ultimately, playful fashion, as Delson continues the filmic experimentation begun during her collaboration with Jill Godmilow an the genre-bending Far from Poland.

Filmed on location in Vignaccio, Grosseto, Italy.

The Hypergaussian Wars is an AI-generated feature-length audiovisual work exploring algorithmic warfare, obsolete media and the transformation of images through repetition, saturation and collapse. Built from thousands of generated images, synthetic landscapes and references to 14th–16th century painting, the film stages a continuous conflict between historical visual culture and contemporary computational systems. Fragments of obsolete video games, ruined architectures, military simulations and post-human figures circulate through increasingly unstable environments. Rather than telling a linear story, the film operates as an image system in which visual excess progressively erodes meaning. The Hypergaussian Wars reflects on memory, obsolescence, artificial intelligence and the persistence of images after their original function has disappeared.