A bumblebee (to a boogie-woogie version of Flight of the Bumblebee) is being attacked by flowers made of piano keys, flowers made of trumpets, snakes made of piano keys, the piano hammers hitting the "strings" of the sheet music, and so forth.
This animated short focuses on the lives of three eccentric people living on a farm in the Ukrainian countryside. Told in a non-linear, stream of consciousness style, the film depicts the deceitful relationship between a master and his two servants. Preserved by the Academy Film Archive in 2007.
The 365 days animation consists of sequence of 8760 pictures, all different shape and color, hand-drawn by the director every day in 365 days. This is the ultimate analog approach by the abstract animated film creator in digital era.
In this fun family comedy, a village rooster's punctual (and loud!) crowing keeps everyone awake until a group of sleepy locals hatch a scheme to get rid of him.
Walking towards the fire. In a ceaseless stream of light, people, landscapes and objects lead us to mysterious regions. French filmmaker Patrick Bokanowski’s work is hard to classify - and all the richer for it. Together with his wife Michèle, whose musique concrète compositions form the basis of the sound design, Bokanowski offers a prolonged, dense and visually visceral experience of the kind that is rare in cinema today. Difficult to define and locate, its strangeness is quite unique.
1895 is a picture about the life of brothers Auguste and Louis Lumiere, who have immortalized their names as inventors of cinematography. What inspired them?
A powerful entity known as Death Mask hurls Kujukuri City, Japan, and Dallas, Texas 10,000 years into the future, reshaping them into a ruthless battleground where only the strongest survive. Determined to shatter this tyrant's hold on time itself, Gai Tanbara ventures into the dystopian future. Along the way, he meets Emiya, a fierce warrior fighting to reclaim her city from the darkness. Together, they confront the horrors of a shattered world and the sinister forces threatening the fate of humanity!
Submarines Olly and Beth join their friend Bobsie, who is convinced he is the great-grandson of the Rainbow “Pie-Rats”, to search for the legendary secret treasure that reflects the beautiful rainbows in the sky. Their exciting treasure hunt is filled with wonder, comedy, thrills and adventure. But, they are followed by the unscrupulous Snarky Sharkskin and his slippery seahorse gang. As resourceful as ever, Olly and Beth manage to overcome all the problems they encounter, survive the storms at sea, make a heroic rescue, and find the glittering rainbow treasure. However, in the end, the treasure hunt leads them to understand that the best treasure of all is family and friendship.
An elegant home movie, its subject is Breer's apartment which faces the Tappan Zee (T.Z.) Bridge. It is permeated, as are all his films, with subtle humor, eroticism and a sense of imminent chaos and catastrophe.
This wartime publicity trailer by Norman McLaren focuses on wartime inflation and the role of price control. Single-frame animation is used with pen drawings made directly on 35mm film stock. Music is by Louis Applebaum, a leading composer and advocate for the arts in Canada.
This publicity clip for Canada Post is Norman McLaren's first film for the NFB. For this animated short, McLaren drew symbols by pen onto clear 35 mm stock, which was then superimposed on a photographed painted background. Benny Goodman's rendition of Jingle Bells provides the accompaniment. (NFB)
Makoto Nakazono is a high school student with a small dark secret. Since he was little, he has had the mysterious power to see "black entities" that steal souls. One day, he is suddenly interrogated by one of the "black entities," Akira Seno: "Will you get in our way?" But Makoto replies with an air of resignation, "There's nothing I can do anyway, so I won't." At that moment, Makoto didn't notice the threatening shadow approaching his childhood friend Hazuki...
Colleagues at the University of Colorado at Boulder, the two began with strips of film Brakhage had painted on by hand, photographing them frame by frame with Solomon’s optical printer. They often printed two strips of film together, some of them containing images taken by Solomon, then chose from the images what Brakhage says “seemed to us natural phrases,” which Brakhage arranged into the final form. The result is a 40-minute silent film in which occasional hints of photographic images sometimes seem to peek through largely abstract shapes.