Escape Velocity II

To help visualize the dramatic final chapter in Cassini's remarkable story, NASA's Jet Propulsion Laboratory produced this short film that features beautiful computer-generated animation, thoughtful narration and a rousing score. Producers at JPL worked with filmmaker Erik Wernquist, known for his 2014 short film "Wanderers," to create a stirring finale video befitting one of NASA's most successful missions of exploration.

This short follows the early career of actress Jane Barnes. She starts by doing extra work. After several months she is offered a studio contract (the "first step"). However, her work consists mostly of fashion shoots and bit parts that end up on the cutting room floor. She is even used as a stand-in for Maureen O'Sullivan on the set of a Tarzan movie when camera angles and lighting must be set up.

Splinter

Garance has just lost her Wawa. It’s going to be picked up, rolled around, transported, thrown away, carted off, dragged off, snatched up, shot, smashed, trampled, given away, pushed around, stolen, soiled, forgotten, chewed on, slapped, crushed, banged up, and found again. This is the story of the unfortunate trip of a stuffed dog through the streets of Paris.

Un Chien Andalou is an European avant-garde surrealist film, a collaboration between director Luis Buñuel and Salvador Dali.

Libby makes her living selling spells, fortunes and hexes to small-time criminals and drug runners, but her lifestyle is disrupted when a figure from her past reappears.

A young couple is faced with a difficult decision.

The Vampire Attack

A boy uses a professor's liquid to make objects transparent.

A bizarre cartoon based on English nursery rhymes.

The cartoon is based on one of the famous Ukrainian lullabies. It tells the story of a newborn baby, which is surrounded by the maternal care and affection. In the video sequence, unusual ornament is replaced by fairy tale characters and animals that appear near the baby lying in his cradle.

A man confronts his past during an experiment that attempts to find a solution to the problems of a post-apocalyptic world caused by a world war.

Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames.

The second part: Brakhage’s layering of images spends less time with images of war, and begins filtering in scenes of Vienna and his home in Colorado. He sets up a comparison between “Kubelka’s Vienna” and his own.

With a storm going on outside, Lucia and Regina are forced to confront each other about what is really happening between them.

A group of people talk about very different subjects, including a strange course that one of them has just completed. There is tension in the air, although it is not quite clear why. They give the impression that they are killing time while waiting for a job that everyone needs for different reasons. Are they actors looking for a role?

A short story of two strangers meeting in a train journey, not knowing that something stranger is coming their way.

Mario has prepared something for Cristina, but she doesn't seem very interested in knowing what it is.

Bear (10 minutes, 35 seconds) was Steve McQueen's first major film. Although not an overtly political work, for many viewers it raises sensitive issues about race, homoeroticism and violence. It depicts two naked men – one of whom is the artist – tussling and teasing one another in an encounter which shifts between tenderness and aggression. The film is silent but a series of stares, glances and winks between the protagonists creates an optical language of flirtation and threat.