These experiments for Baes’s stop motion film ‘46 bis, rue de Belleville’ are an art work in its own right. The stop motion technique he uses belongs to the realm of animation. He never handles the camera in an obvious way, but shoots frame per frame in order to come up with a dreamlike staccato effect. With ‘Test’ Pascal Baes sets up his trademark: a low-tech edition of the time-lapse photography, applied to choreography.
These experiments for Baes’s stop motion film ‘46 bis, rue de Belleville’ are an art work in its own right. The stop motion technique he uses belongs to the realm of animation. He never handles the camera in an obvious way, but shoots frame per frame in order to come up with a dreamlike staccato effect. With ‘Test’ Pascal Baes sets up his trademark: a low-tech edition of the time-lapse photography, applied to choreography.
Ella Blake, a stop-motion animator struggling to control her demons after the loss of her overbearing mother, embarks upon the creation of a film that becomes the battleground for her sanity. As Ella’s mind starts to fracture, the characters in her project take on a life of their own.
King of the slack wire. His daring feats of balancing as he performs his thrilling feats in midair show that he is perfectly at home.
In a long, diaphanous skirt, held out by her hands with arms extended, Broadway dancer Annabelle Moore performs. Her dance emphasizes the movement of the flowing cloth. She moves to her right and left across an unadorned stage. Many of the prints were distributed in hand-tinted color.
In Prague, a professorial puppet, with metal pincers for hands and an open book for a hat, takes a boy as a pupil. First, the professor empties fluff and toys from the child's head, leaving him without the top of his head for most of the film. The professor then teaches the lad about illusions and perspectives, the pursuit of an object through exploring a bank of drawers, divining an object, and the migration of forms. The child then brings out a box with a tarantula in it: the professor puts his "hands" into the box and describes what he feels. The boy receives a final lesson about animation and film making; then the professor gives him a brain and his own open-book hat.
In 2015, Christopher Nolan curated a selection of short films by the surrealist animators the Quay Brothers to be distributed as a touring 35mm presentation. The three films—"In Absentia" (2000), "The Comb" (1991) and "Street of Crocodiles" (1986)—were accompanied by this brief portrait of the brothers at work in their London studio.
Marcel is an adorable one-inch-tall shell who ekes out a colorful existence with his grandmother Connie and their pet lint, Alan. Once part of a sprawling community of shells, they now live alone as the sole survivors of a mysterious tragedy. When a documentarian discovers them amongst the clutter of his Airbnb, his resulting short film brings Marcel millions of passionate fans, as well as unprecedented dangers and a new hope at finding his long-lost family.
In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?
This fantastical movie inspired by the music of Michael Jackson features imaginative interpretations of hit tracks from the iconic 1987 album “Bad”.
The late, great impresario Florenz Ziegfeld looks down from heaven and ordains a new revue in his grand old style.
I made this film especially for you. I needed to check in with you. I needed to tell you how I feel.