One Song

A man's repeated attempts to retrieve an apple off a high tree branch all prove fruitless. What does he want the apple for? That would be telling.

A Walt Disney short film.

For many years, Urs has had to look after his aging mother. But now he sets out for a dangerous journey: He carries his mother up a mountain to find a better place for both of them. But she wants to stay at home.

The magical tale of a mouse who sets foot on a woodland adventure in search of a nut. Encountering predators who all wish to eat him - Fox, Owl and Snake - the brave mouse creates a terrifying, imaginary monster to frighten them away. But what will the mouse do when he meets this frightful monster for real?

A woman sits alone on a chair at a table in a room on one of the top floors of an asylum. Bright spot lights dot the night, sometimes shining on her window. She sharpens pencils and writes on a page in a copy book. The pencil point often breaks under her fingers' force. She places broken points outside the window on the sill. A satanic figure is somewhere nearby, animated but of straw or clay, not flesh. She finishes her writing, tears the paper from the pad, folds it, places it in an envelope, and slips it through a slot. Is she writing to her husband? "Sweetheart, come."

Ghiblies, a totally different look on the staff of Studio Ghibli as they go through life, work on new animation projects, office jokes, off the wall events, and deciding what to have for lunch.

Kuso no Sora Tobu Kikaitachi (Imaginary Flying Machines) is a 2002 Japanese animated short film produced by Studio Ghibli for their near exclusive use in the Ghibli Museum. It features director Hayao Miyazaki as the narrator, in the form of a humanoid pig, reminiscent of Porco from Porco Rosso, telling the story of flight and the many machines imagined to achieve it.

A porcelain doll’s explorations of a dreamer’s imagination.

As the gap between a burning airplane and the ground gets smaller, one passenger has other things on his mind!

In a solemn, haunted environment, a small bug crawls over the silhouette of a house.

The film centers on an unusual photograph dating back to the 1930s. An investigation of its particulars reveals a tapestry of secrets hidden in the details, and a tale of kidnapping and murder captured in a haunting moment.

First film produced by Laugh-O-Gram Studio, as part of demo reel. This film is not really animated, it just consists of Walt drawing a single frame. Part of the Newman Laugh-O-Grams Series.

In Prague, a professorial puppet, with metal pincers for hands and an open book for a hat, takes a boy as a pupil. First, the professor empties fluff and toys from the child's head, leaving him without the top of his head for most of the film. The professor then teaches the lad about illusions and perspectives, the pursuit of an object through exploring a bank of drawers, divining an object, and the migration of forms. The child then brings out a box with a tarantula in it: the professor puts his "hands" into the box and describes what he feels. The boy receives a final lesson about animation and film making; then the professor gives him a brain and his own open-book hat.

Morten the hedgehog suddenly acquires a baby brother and getting mummy and daddy's attention becomes very difficult. Morten decides to get rid of his baby brother and put back the clock.

This film is not really animated, it just consists of Walt drawing a single frame. Part of the Newman Laugh-O-Grams Series.

First properly animated film produced by Laugh-O-Gram Studio, as part of demo reel. Part of the Newman Laugh-O-Grams Series.

Locomotion

A doctor mysteriously discovers that he is required urgently at the village to offer his services. He arrives there after a long and difficult journey, only to discover that the village is empty.

Stop-motion animated short film in which, among other things, a man made of wire looks malevolent.

The Quays' interest in esoteric illusions finds its perfect realization in this fascinating animated lecture on the art of anamorphosis. This artistic technique, often used in the 16th- and 17th centuries, utilizes a method of visual distortion with which paintings, when viewed from different angles, mischievously revealed hidden symbols.