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Experimental film from the almanac of classical music for children "Children's Album". It is dedicated to the constructivist period of Alexander Mosolov, as well as architecture and cinema of this direction and consists of three parts, with conditional names: 1. "Shadows", 2. "Movement", 3. "Volume". The structure of the film is visually and rhythmically close to constructivism.
Derived from an installation, an asymmetrical orchestration of "motion paintings" pushing the limits of abstraction in the digital age.
Animator Ryan Larkin does a visual improvisation to music performed by a popular group presented as sidewalk entertainers. His take-off point is the music, but his own beat is more boisterous than that of the musicians. The illustrations range from convoluted abstractions to caricatures of familiar rituals. Without words.
Film poem created with the wild flowers that grow along the shore of the Laira estuary, the tidal mouth of the River Plym, on the southwest coast of Britain. The petals and leaves stream past as the haunting soundscape ebbs and flows.
Village, like a human being, is born out of love. Village, like a human being, is ruined, if left without love.
A destructive sequence with infinite consequences.
An elegy to a love affair that has gone sour, a fond farewell to that most beautiful material that has subjugated our planet – plastic.
A non-narrative film thematising the eternal struggle of human life in a series of scenes connected by associations and accompanied by a strong music motif.
A 5 minute, 2D, straight-ahead animated film by Bruce Bickford.
A series of vaudeville acts inserted in images of reality, meant to demonstrate the ephemeral nature of all things.
A line is being extrapolated through a grid. When the line surpasses the boundaries of the grid, the process spreads to and reflects on its surroundings. Beyond each boundary the extrapolation of movement is causing deformation in a systematic but speculative way.
"Beyond Noh" rhythmically animates 3,475 individual masks from all over the world, beginning with the distinctive masks of the Japanese Noh theater and continuing on a cultural journey through ritual, utility, deviance, and politics.
Deep-sea organisms living in such a specific environment have developed unusual forms and properties. This is an interpretation of the underwater world and an invitation to relax.
Iwasaki’s ink oscillates like an evil lava lamp that might actually be alive and its progression into more and more disturbing images create an impressive sense of dread in a film that is basically just some pencil drawings on a blank background. (Film School Rejects)
I work with the interaction of space, and being in it, and the energies associated with them. The state of rest, then tipping over from it, and then returning to it again.
Blind evolution. Seemingly arbitrary stages of the evolution in black-and-white drawings on rough paper.
A dedicated bird watcher observes a hawk and journeys to the limits of what it means to be human.
