_ImEdge

An abstract animation with a motif of a dragonfly, and a complex multi-exposure landscape of a field and a woman's naked body overlap.

Borrowing its title from a treatise by Aristotle, the latest film by Makino Takashi is an abstract work that finds its drive in the clash between light and darkness. Entirely composed of superimposed images of Tokyo’s landscape and water sites, the film takes its rhythm from the cycles of repetition that are the pillars of life and civilisation. As light emerges from the chaos, Jim O’Rourke’s ambient drone sets the tone for what is to come.

In this animated short, simple geometric forms as thin and flat as playing cards constantly form and re-form to the sound of the koto, a 13-stringed Japanese instrument.

A burst of cheer and refreshment that it seems perfectly suited to a late July afternoon.

Animated work detailing the unrequited love that a line has for a dot, and the heartbreak that results due to the dot's feelings for a lively squiggle.

Three books: a film festival catalogue, a dictionary, the Bible. Three works whose materiality has become obsolete by the digital dematerialization. A commentary on the fragility of culture.

A horse goddess gives birth to three powerful brothers who set out into the Underworld to save three princesses from three evil dragons and reclaim their ancestors' lost kingdom.

Enigma is something of a more glamorous version of White Hole, with a wide variety of elaborate textures (often composed of iconographic and religious symbols) converging towards the centre of the screen.

And And

Mamori transports us into a black-and-white universe of fluid shapes, dappled and striated with shadows and light, where the texture of the visuals and of the celluloid itself have been transformed through the filmmaker’s artistry. The raw material of images and sounds was captured in the Amazon rainforest by filmmaker Karl Lemieux and avant-garde composer Francisco López, a specialist in field recordings. Re-filming the photographs on 16 mm stock, then developing the film stock itself and digitally editing the whole, Lemieux transmutes the raw images and accompanying sounds into an intense sensory experience at the outer limits of representation and abstraction. Fragmented musical phrases filter through the soundtrack, evoking in our imagination the clamour of the tropical rainforest in this remote Amazonian location called Mamori.

A person living in Liberty City goes to work, have some food & gets back home.

A raccoon on a voxel boat talks about his job.

Torn from their home by a hand in the sky, colorful entities seek freedom from a rigid binary in this short experimental animation.

A film unmade-- That is, Survage's film was never realized in the traditional sense-- At the time, such a project was beyond technological possibility. His pioneering efforts to combine luminous, expressive painting and the moving picture were further curtailed by the outbreak of WWI. Some have taken it upon themselves to 'animate' his watercolor plates in attempts to set his dream into motion.

A tale about a kid, a samurai mime, and a stripper who all try to defeat a warlord and an evil clown who have successfully turned a countryside into a never ending nightmare filled with horrible monsters.

Partly figurative, partly abstract, Drux Flux is an animation film of fast-flowing images showing modern people crushed by industry. Inspired by One-Dimensional Man by the philosopher Herbert Marcus…

This newly rediscovered short was created in Jim's home studio in Bethesda, MD around 1961. It is one of several experimental shorts inspired by the music of jazz great Chico Hamilton. At the end, in footage probably shot by Jerry Juhl, Jim demonstrates his working method.

An abstract animated film inspired by the work of jazz musician Chico Hamilton.

We watch white shapes dancing on black background, which changes when the white shape fills up the screen completely, and black lines and figures bounce around on the now white background.

The idea of JAM was conceived while I was attending the Ottawa International Animation Festival in 2008.After returning to Japan, I soon began making the film and completed it in four months.This film is based on a very simple idea: the increasingly varied the sounds, the greater is the number of creatures. I wanted to rid myself of the frustrating experience of making Devour Dinner, which was highly unsatisfactory from the viewpoint of the movement in the film. My intention in this film was to fill the screen with chaotic movements.