Código formal: Una desventura de Fran y Ren

A pre-internet mash-up that mixes “Peanuts” and David Lynch’s “Blue Velvet.”

Two teenage girls embark on a series of destructive pranks in which they consume and destroy the world around them.

Baldwin’s “pseudo-pseudo-documentary” presents a factual chronicle of US intervention in Latin America in the form of the ultimate conspiracy theory, combining covert action, environmental catastrophe, space aliens, cattle mutilations, killer bees, religious prophecy, doomsday diatribes, and just about every other crackpot theory broadcast through the dentures of the modern paranoiac.

A compact, full-color cut-out animation as ephemeral as the colors swimming on the surface of a soap bubble. The eternal round shape, the orb (sun, moon, symbol of the whole self) balloons its inimitable and joyous course through scene after scene of celestial delight, fixing at last as the mystical globe encasing the lovers whose course it has paralleled throughout the film.

For the first time I am animating hand-painted engraved cut-outs on a full-color background. The film is mood-filled: A duel scene in a snowy forest, obviously the morning after a masquerade ball. Harlequin lies dying, while Red Indian walks away with the wings of victory. The woman between them appears, cat-masked. The mask dissolves away. Her spirit passes into the face of the sun upon the sun upon the sun flower. But Harlequin cannot escape death. The blue world engulfs him.

Leo San Juan, an insecure child of nine years old, lives eternally frightened by horror stories that Nando tells his older brother. Within these stories it is 'The Legend of Nahuala', according to which, an old abandoned Casona is possessed by the spirit of an evil witch known as the Nahuala.

A critique of marketing speak in the commercial cartoon industry.

This short, animated piece of agitprop fiercely expresses the hopes of the Chilean people.

One of Lawrence Jordan's earliest animated films, PINK SWINE is an energetic and playful mix of various animation styles. Described as "an anti-art dada collage film," this free-form short presents cut-out images animated across old photos (a style picked up by Terry Gilliam a few years later) and found objects that dance to the beat of the rock-and-roll soundtrack. He produced this short during a summer spent with Joseph Cornell and Jordan edited the film entirely in camera, making the upbeat visual rhythm of this delightful lark even more impressive. –Sean Axmaker

Humankind has always dreamt of the night sky. Of the infinite freedom offered by the black void, and of the strong, shining beacon inviting us to ascend. This is a story, a history of the events that led up to our conquest of space, and the consequences throughout wider humanity. The film is a collage. Of genres, documentary and comedy. Of media, drawing from painting and film. Of films, cannibalising all film history. Of truth, both objective and subjective. Watch the small steps and let your mind take a giant leap.

At a bus stop caught between worlds, two very different birds cross paths and what starts as an innocent encounter quickly spirals into a wildly chain of events.

Photos, animation, and music illustrate the story of the Beatles.

Animation using cutout animation to craft a bizarre science fiction experiment. Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery.

In the Mexican town of Santa Clara, Salma, a 16 year-old orphan who never got to meet her biological parents, has spent most of her life searching for clues of their identities and whereabouts, that is until she discovers a special book that is filled with stories of the town's past and the history of it's people.

A ritual in the form of a film essay that explores, through collage, the sense of exile experienced during early childhood migration. It examines the primal configuration of detachment from one’s homeland, family environment, and body, and the reclamation of origins as a symbolic center.

The story revolves around two spoiled youngsters, Jones and his cousin Korah and the turn of events during their vacation.

A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.

Animation. The theme is Weightlessness. Objects and characters are cut loose from habitual meanings, also from tensions and gravitational limitations. A lyric Eric Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are possible, and that we will not dissolve into a jelly if we allow ourselves to relax into them: A horseman rides through the landscape, through the town, but never arrives anywhere in particular. An acrobat swings on a rope above a canal in Venice, and is content just to swing there. Nothing threatens to disturb them. This film is a total contrast to the Kafka-like oddities of Eastern European animation. —Canyon Cinema

A completely new story based on existing footage from the series Columbo.

In a forgotten village, a woman lives as the last inhabitant of a place filled with shadows and silences. One night, she finds herself trapped in a disturbing nightmare: a wake where ghosts pray and a single empty grave awaits. This strange ritual forces her to confront the limits of her memory, where the past and the echoes of her existence intertwine with death, revealing hidden truths about her loneliness.