It's midnight in a graveyard. The principal characters are spooks, ghosts, bats, bells, and, at the end, the sun. As midnight strikes, 12 spooks appear, then two ghosts. They move to the music's rhythm. Against the black night, they are blue and yellow. Bats appear as does a xylophone of bones. Mist rises, spooks swirl. A bell tolls. The sky turns light blue, the ghosts' dance slows. Then black night returns bringing intimations of frenzy. Bones play snare drums; spooks peek out of square graves. Scary faces appear. Frenetic movement takes over. A rooster crows and all return to earth as the sun's light appears.
A character closely resembling then-mayor Ed Koch sings a variation on the "Theme from 'New York, New York'" in an entirely clay-animated film depicting a variety of locations and celebrities associated with New York City. Preserved by the Academy Film Archive in 2006.
This is one of the classic animations of the 1990s with its surreal tale of the struggle between the sexes. All the strains as well as the closeness of relationships are shown, the title referring to the repetition of the tensions throughout our lives. It also reveals the role the woman plays in a marriage and the need, though often not communicated properly, of the man for this companionship and support.
The animated short that introduced the world to Beavis and Butt-Head, the two dimwitted fifteen year-olds with the intelligence of dirt. "Frog Baseball" features the two distinguished numbskulls beating a helpless frog to death with a baseball bat.
Sho and his friend Tetsurou stumble upon an odd alien artifact while walking through the woods. Then, the alien artifact breaks free of its metallic bonds and enters Sho's body, turning him into the Guyver. With this new power, Sho must do battle with the evil Chronos corporation and their genetically enhanced Zoanoids, who seek to get the Guyver back into their labs. No one close to Sho is safe from Chronos. He must fight.
A Russian scientist creates a mind-reading weapon for his generals on a remote island. After the demonstration, the generals are pleased. Little do they realize, both the weapon, and the creator of the weapon have a mind of their own
Episode 4. A terrible threat hanging over the wolf tribe and all living inhabit the jungle. On native places for Mowgli is approaching a huge flock of wild red dogs, destroying everything in its path. It seemed nothing to resist them, but Mowgli comes up with as they confront the red Horde.
Episode 2. Mowgli — the adopted son of a wolf family. He grows quickly and learns from his mentors. The rumor that the wolf pack living human child, comes to banderlogs. The monkey tribe, decided to make Mowgli their leader. They steal Mowgli and transfer it into a towns ruins in the jungle.
While the rural town of Hicksville anticipates the arrival of one Miss Glory, the bellhop at her modest hotel falls asleep and dreams of paging her at a luxurious metropolitan high rise hotel.
Speedy Gonzales, the fastest mouse in all Mexico, runs to the rescue of his two drunken rodent friends, Pablo and Fernando, who keep wandering into the hungry clutches of an alley cat.
An elderly mouse tells the bedtime story of Little Red Riding Hood to her grandson, who visualizes the tale in cat-and-mouse terms, with himself as Red and Sylvester as the Big Bad Wolf.
Felix in Exile introduces a new character to the 'Drawings for Projection' series: Nandi, an African woman, who appears at the beginning of the film making drawings of the landscape. She observes the land with surveyor's instruments, watching African bodies, with bleeding wounds, which melt into the landscape. She is recording the evidence of violence and massacre that is part of South Africa's recent history. Felix Teitelbaum, who features in Kentridge's first and fourth films as the humane and loving alter-ego to the ruthless capitalist white South African psyche, appears here semi-naked and alone in a foreign hotel room, brooding over Nandi's drawings of the damaged African landscape, which cover his suitcase and walls. Kentridge has commented: 'Felix in Exile was made at the time just before the first general election in South Africa, and questioned the way in which the people who had died on the journey to this new dispensation would be remembered'.