Two teenage girls embark on a series of destructive pranks in which they consume and destroy the world around them.
Life for a struggling college student changes in an instant when he meets the owner of a male strip club who convinces him to give amateur night a whirl.
In this motion picture Ron finds his self on the run right before he's goes to collage in a cop involved shooting witch sends him into hiding for 8 dayz
The story revolves around two spoiled youngsters, Jones and his cousin Korah and the turn of events during their vacation.
The author's erotic imagination is mixed between desire and magazine clippings, and the trade of collage becomes a ship that travels from outer space to the city itself.
This short film from Arthur Lipsett is an abstract collage of snippets from discarded footage found by Lipsett in the editing room of the National Film Board (where he worked as an animator), combined with his own black and white 16mm footage shot on the streets of Montreal and New York City, among other locations. A commentary on a machine-dominated society, it is often cited as an influence on George Lucas's Star Wars and his conceptualization of "The Force."
Three Nicaraguan-American artists from the Washington D.C. Metro area discuss growing up in two cultures and how it influences their art.
A series of horrifying murders, the victims, always couples, staged in bizarre collage dioramas with cardboard cutouts and scribbled, childlike messages about the corrupting power of love. The killer's on the loose, and the FBI is looking for a truck driver. Emery Reed is a long haul trucker disillusioned with the American Dream after an accident left his wife paralyzed and took the life of their son. Newlyweds Jeff and Krissy are having the time of their lives until their car breaks down on a rural road in the middle of nowhere. When the love birds collide with the forlorn truck driver, a wild ride leaves everyone questioning the true value of love and American Romance.
Borrowing from an anthropological study initiated through the University of California in 1969, The Taste of The Name is a fantasia on universality. As a parallel to the elusive “umami” and its gradual scientific acceptance as a primary taste, we consider what is perceivable, knowable, and namable. Through the blue spectrum of various hermetic artifices, we are fed fables of Jules Verne's Nautilus and resurface in a virtual tanning bed, turning over in a slippery navigation of language.
Photos, animation, and music illustrate the story of the Beatles.
Nammal is another campus movie from Kamal after Niram. What is different this time is Kamal introduces new faces Siddharth and Jishnu. Kamal provides glimpses of the new campus with adventure in his movie with these debutants. Snehalatha (Suhasini) takes charge as the Principal in a college where Shyam (Siddharth) and Sivan (Jishnu) are the heroes. Shyam and Sivan are fun filled characters as well as naughty. Aparna (Renuka Menon) is teased and ragged by the duo, who happens to be the daughter of Principal's friend. Aparna complaints and Snehalatha takes action against Shyam and Shivan. Soon to her surpurise she discovers that Shyam and Shivan are orphans, hardworking and their guardian is a priest (Balachandra Menon).
A young Chilean boy is abandoned by his parents in the city where he forms a connection with a pack of wild dogs.
The death of the minotavr talks about the concept of the heroine's journey. Suffering, horror and exhaustion lead the protagonist to a process of transformation, abyss and expiation, because only murdering to minotaur and everything he represents is possible to return to life. From the female gaze, it shows the depth of the emotional wounds caused by domestic violence; the same one that the surrealist Dora Maar lived and that ask why, as a society, instead of killing the minotaur, we blindly continue to send him women only to be devoured and ask them why they simply did not fight, why they did not try get out of the labyrinth.
Tom is a young guy from Zagreb, completely without money, trying to make films in Belgrade. He somehow manages to survive with a help of women. He doesn't believe in anybody, respects no one and is in constant conflict with the ruling system and order. After being left by a silly American girl, Tom binds with a woman whose husband is abroad. When she kicks him out, he moves in with her husband's sister, who later kills him in the attack of jealousy. All this is shown in the context of major historical events prior to 1968. with lots of archive footage of world leaders.
Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.
Landow rejects the dream imagery of the historical trance film for the self-referential present, using macrobiotics, the language of advertising, and a speed-reading test on the definition of hokum. The alienated filmmaker appears, running uphill to distance himself from the lyrical cinema, but remember, "This is a film about you, not about its maker."
Animation. The theme is Weightlessness. Objects and characters are cut loose from habitual meanings, also from tensions and gravitational limitations. A lyric Eric Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are possible, and that we will not dissolve into a jelly if we allow ourselves to relax into them: A horseman rides through the landscape, through the town, but never arrives anywhere in particular. An acrobat swings on a rope above a canal in Venice, and is content just to swing there. Nothing threatens to disturb them. This film is a total contrast to the Kafka-like oddities of Eastern European animation. —Canyon Cinema
In 1914, the Czech architect Jan Letzel designed in the Japanese city of Hiroshima Center for the World Expo, which has turned into ruins after the atomic bombing in August 1945. “Atomic Dome” – all that remains of the destroyed palace of the exhibition – has become part of the Hiroshima memorial. In 2007, French sculptor, painter and film director Jean-Gabriel Périot assembled this cinematic collage from hundreds of multi-format, color and black and white photographs of different years’ of “Genbaku Dome”.
This short, animated piece of agitprop fiercely expresses the hopes of the Chilean people.