Deriva amorfológica: bacia de Cubatão(2019)

La Señal Cósmica(es)

The film was produced applying mixed techniques on Super 8 film support.

La Costante di Archimede(it)

Somnambulists(pl)

In 1958, graduates of the Film School in Łódź – director Mieczysław Waśkowski and camera operator Adam Nurzyński – produced in cooperation with Tadeusz Kantor the short film Somnambulists. The colourful, painting-like moving image was an attempt at transferring the informel onto film stock.

Air!(fr)

Although only a couple of minutes long, this animated short makes the point that oxygen is the stuff of life whether on land, in the air or water, but that it is becoming scarcer as man-made pollutants crowd it out. This is a film without words in which plants, birds, fish and, finally, man come to the same "breathless" end

A Fugue(en)

A space occupies it, awaiting to be unlocked by a freeing action or notion. What lies ahead is its determination.

Abstronic(en)

A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s and the 1950s. Set to classical music by the likes of Bach, Saint-Saëns, and Shoshtakovich, and replete with rapidly mutating geometries, Bute’s filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute’s films were “composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.” Bute herself wrote that she sought to “bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.”

Wet Paint(en)

[The] Insinuation of accidentally spilled ink that would be running across the paper in random, aleatory oozes displaces the graceful liquidity of the careful animated choreography. - William Moritz

Poker(ja)

A burst of cheer and refreshment that it seems perfectly suited to a late July afternoon.

The Last Zero(pl)

Animation short by Alina Maliszewska.

Thine Own Self(en)

Torn from their home by a hand in the sky, colorful entities seek freedom from a rigid binary in this short experimental animation.

The Dot and the Line: A Romance in Lower Mathematics(en)

Animated work detailing the unrequited love that a line has for a dot, and the heartbreak that results due to the dot's feelings for a lively squiggle.

Traveler(en)

A raccoon on a voxel boat talks about his job.

Drux Flux(en)

Partly figurative, partly abstract, Drux Flux is an animation film of fast-flowing images showing modern people crushed by industry. Inspired by One-Dimensional Man by the philosopher Herbert Marcus…

Free Radicals(en)

In this powerful abstract film with a soundtrack of African drum music, Lye scratched "white ziggle-zag-splutter scratches" on to black leader, using a variety of tools from saw teeth to arrow heads. The first version of the film won a major award at the International Experimental Film Festival Held in Brussels in 1958 in association with the World's Fair. Stan Brakhage described the film as "an almost unbelievably immense masterpiece".

Our Lady of the Sphere(en)

Animation using cutout animation to craft a bizarre science fiction experiment. Moving spheres, such as balloons and bubbles, are superimposed on static backgrounds to suggest travel and discovery.

Fuji(xx)

A live action footage of a smiling, bespectacled (presumably) Western tourist set against the familiar cadence of an accelerating train revving up as it leaves the station sets the mesmerizing tone for the film's abstract panoramic survey of an Ozu-esque Japanese landscape of electrical power lines, passing trains, railroad tracks, and the gentle slope of obliquely peaked, uniform rooflines as Breer distills the essential geometry of Mount Fuji into a collage of acute angles and converging (and bifurcating) lines .

Rhythm 23(de)

We watch white shapes dancing on black background, which changes when the white shape fills up the screen completely, and black lines and figures bounce around on the now white background.

Color Cry(en)

In 1944 Lye moved to New York City, initially to direct for the documentary newsreel The March of Time. He settled in the West Village, where he mixed with artists who later became the Abstract Expressionists, encouraged New York’s emerging filmmakers such as Francis Lee, taught with Hans Richter, and assisted Ian Hugo on Bells of Atlantis. Color Cry was based on a development of the “rayogram” or “shadow cast” process, using fabrics as stencils, with the images synchronized to a haunting blues song by Sonny Terry, which Lye imagined to be the anguished cry of a runaway slave. —Harvard Film Archive

Dimensions(xx)

A mathematical play on one repeated movement. It imparts a sense of possibilities: that something simple can produce complex and unexpected patterns. As with an atom, the variety of possibilities from a base movement is potentially infinite.

Trip!-Trap!(ja)

In the darkness of a cave, one man who had never seen even his own figure found a hollow flooded with light. An expression of a chaotic world. This experimental graduation film is a mixture of different animation techniques