City Shock

A life, seen through paper.

A seashell belonging to a northern moon snail twists and turns 360 degrees in multiple wooden homemade contraptions and through contact sheets at a progressively rapid pace, before finally synthesizing the gnomic growth of the spiral shell and exploring the phenomena of virtual and real space and time. Directed by Al Jarnow.

Two girls explore their relationship and what it means to be in the world and be vulnerable in this hand drawn graphite animation.

In EIN TRAUM DER LIEBENDEN [A DREAM OF LOVERS], Monk meanders through a maze of Minoan bull-leaping, satyrs and revelatory rainbows.

This is a didactic film in disguise. A progression of brilliant geometric shapes bombard the screen to the insistent beat of drums. The filmmaker programmed a computer to coordinate a highly complex operation involving an electronic beam of light, colour filters and a camera. This animation film, without words, is designed to expose the power of the cinematic medium, and to illustrate the abstract nature of time.

Filmed on 16mm film, this visual expression is rooted in its archival materials and backed up by the poem by Hans Magnus Enzensberger. It speaks of the forgotten people, their lives and their deeds. These two Archives have been found on the flea market in Zagreb. One is of a famous architect and the other one is of a famous composer. This film ponders on this occurrence, on the vanishing of and forgetfulness of humans.

A chain reaction as a new Olympic sport.

An abstract computer-generated film. The image is of squares revolving in space around and through each other. Colors and forms multiply and divide against a beautiful symphonic score by George Kleinsinger.

Experimental animation film, with a visual focus on geometrical shapes and straight lines

A disturbing cinematic opera from Melbourne film-maker, Michael Lee, presenting an intense emotional collage of film clips, original footage and complex object animation, structured loosely in the form of a Catholic Mass, to communicate the film-maker's traumatic Catholic experience. The film is intended in part as 'anti-imagery' in response to the iconography of Catholicism.