A documentary about the making of Wallace & Gromit’s Cracking Contraptions.
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Two old sisters, living in the same Warsaw apartment, sit on a bench and talk. The 87-year-old elder one seems to care for the other reluctantly and treat her badly. The younger, who is said to be clumsier, has walking problems.
The action is placed in a cramped flat in Warsaw’s district of Ochota. A father and a son, both bedridden, live in a fascinating symbiosis. The son, a well‑known photographer Bernard ben Dobrowolski, is lying in bed because a chronic condition has deformed his body and immobilized him. The father, Dominik, has recently suffered from a stroke. Now they are taking care of each other and crowds of visitors move through their room.
When winter comes, it is hard for those who try to escape from the colds alone, relying only on themselves. The heroes of one of the most famous folk tales come to this conclusion. The tale became the literary basis of the film. The age-old folk wisdom is embodied here in a simple story.
70-year-old Timo makes the most of his short ride to work. Speeding up on a bicycle ends up in a ditch, but the adrenaline rush leaves a feeling of pleasure.
The Visible Compendium constructs bits of unnamed meanings, fragments of light. Photography is, to me, not about things, but about light. Light is our primary reality when we are at the movies. Light which suggests things, the secondary reality, a construct by the mind.
Sepia toning lends a romantic (even wistful) quality to Larry Jordan's film Visions of a City, which he shot in San Francisco in 1957 and edited in 1978. The pace is un-irritating, in contrast to the San Francisco of today; but unlike the equal weight Helen Levill gives to all her subjects, there is an internal evolutionary development in the Jordan film that ultimately delivers a story. Until the introduction of the human protagonist, poet Michael McClure, we are treated to an extravagant display of visual delights.
Though best known for his collage films, Lawrence Jordan here makes exquisite study of the different aspects of light lilting through the early morning fog of California winter. Painterly gradations of color and juxtapositions in scale are beautifully arranged to music by Antonio Vivaldi.
TAPESTRY, part of Lawrence Jordan's "Odyssey" triptych and filmed much later in Jordan's life, is a charged record of his bachelor life after marriage and child-rearing.
An old man crosses the desert with a valuable load, a row of cages with cherubs of sublime songs; when one of them is carelessly abandoned, he reveals the divine power to give life to lifeless beings and things.
Three girls seeking to have their fortunes told invite a witch over. When the girls' father offends the witch, she puts a hex on him and his matches.
A chef comes into the kitchen and throws a lot of rags on the floor: he then casts a spell over them, and immediately they take the form of human beings, and dance a wild saraband around the place. After performing many unique tricks they disappear into space, and are replaced by a group of knives and forks, pans, kettles and spoons. (Moving Picture World)
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
Avant-garde short by Lawrence Jordan.
Against the coastline of the Big Sur country the camera catches swiftly shifting fragments of the nude women at the baths, playing the guitar, cutting the hair, sleeping. The camera movement is used to slightly smear the images onto the film emulsion in a manner parallel with the use of broad different medium from music or painting.
The creation myths of the Yekuana Indians of the Orinoco region of Venezuela provide a transparent look at the poetic process by which human beings construct meaning from their experience. Narrated by Stan Brakhage. Music and sound by Bruce Odland.
Unfolding like a dream, TOTEM explores our evolving relationship to the animal world. Music and sound by Bruce Odland.
An imaginary biography of a little girl who dies after being run over, using the image of the enchanted princess, who wakes up looking for domestic bliss and a happy ending.
The three little kittens have lost their mittens and are sent to bed without dinner. From their room, they see the Milky Way and sail up to it, using a basket and helium balloons, passing through some fanciful astronomical bodies, until they reach a Milky Way filled with every conceivable form of milk.
A still frame, the hallway of the gray, dull house of Horse, Cowboy and Indian. Cowboy and his crazy stooges fill the place, giving it life and color. Until a troublemaker enters and ruins everything.
Impressionist portrait of a landscape forged by tragedy. A ghostly wanderer among the vestiges of a story where 44 young soldiers and a sergeant were pushed to their deaths
Self
Wallace (archive footage) (uncredited)
