Rhythm

Séance provides one of the first cinematic examples of a flicker effect.

Psychedelic animation that impresses with eyeballs and other motifs.

A psychedelic animation that starts with an irregular ink spread and develops while increasing the degree of confusion.

Proxima B is an experimental video shot entirely in stop motion. The camera moves frame by frame in models on which video projections animate the sets. Some plant elements were added to the drawing, frame by frame.

Usagi-san was washed away by some large waves. He cheats a crocodiles to get home. When he does, he was so dirty that his friends abandoned him because he was unrecognizable.

Looking for Hanako's stolen shoes, black cat detective Felix starts to move.

Four short vignettes in this early animated film. In the first, shadows pull away to reveal a puddle, and automobile and bicycle tires pass through it. In the second, cutout shadows of a variety of shoes of people walking are seen. The third is a flurry of geometric forms. In the fourth, the playing card spade courts the heart and pushes away the club, but eventually the club returns, beats up the spade, and wins the heart. (Source: AniDB)

Haru is a Japanese word that means spring (season). A lighthearted anime about spring time. It was originally set to an elementary school song. The film features several vignettes.

Two girls were watching a street performer. The girls sang out loud and the performer brought them up front so that they could sing for the audience. (Source: MyAnimeList.net)

A family of mice dance to entertain a cat that disrupted their festivities after returning home early. (Source: MyAnimeList.net)

The first feature-length animated film by Japanese stop-motion animator Shunsaku Hayashi, inspired by his experiences after the Great East Japan Earthquake of March 11, 2011.

In this short film, a young man, a girl and a dog attempt to fly with wings more symbolic than practical.

Light Pharmacy: 4.1 is part of a series of 'film haiku' concerned primarily with the reflection and refraction of sunlight, and dream representation.---AGN "A surreal fantasy - almost a homage to Maya Deren. Nigrin has a fine feeling for imagery and pacing."---William Sloan, Museum of Modern Art, New York City, 1988.

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.

An experiment in meditative and stripped down cameraless filmmaking, edited and sequenced using machine learning models.

Daner's mission is to get someone to the border, but he'll need the help of everyone at Benbas to do it, will they succeed?

Peter Larsson’s Keyhole Conversation draws the eye down to the small gate of the camera. From there, through quivering and percussive forms of direct and stop-motion animation, the eye begins to experience the scale of an image anew. At times segueing into a flicker, but maintaining a charmed form of attention to the marks of pencils and the channels dredged in emulsion by a paintbrush, all to a curious soundtrack of pulses and bleeps.

Abstract video art by John Sanborn and Dean Winkler. Dedicated to Ed Emshwiller.

An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.

A short experimental film that thematizes dreams and nightmares in a surrealistic way. The basis of the movie is found in the poetry created by the two directors, so the film partly seems like stringed lyrical motifs, open to arbitrary interpretation, giving the impression of poetic images arranged in sequences. Combined techniques were used, so in addition to recording with a camera, pixilation, object animation, collage and liquid animation are featured.