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MEMORIES

In this deeply moving VRChat short film, an entity from the 'in-between' observes the human experience from the periphery. As it watches individuals curate the moments of their lives—from the warmth of a loved one’s smile to the ache of a fading melody—a poignant dialogue unfolds about the weight of memory and the inevitability of the end. More than just a meditation on mortality, Memories is a visual and auditory journey that reframes the concept of passing as a final, gentle guidance. By turns haunting and hopeful, the film serves as a beautiful reminder to make memories with people, assuring us that when our time finally comes, our stories will be carried safely into the dusk. Featuring: Original narration exploring the intersection of existence and legacy. Atmospheric sound design by MuroLynxian. Cinematic direction by Simon Davison and Echo Canidae. Experience this immersive narrative reflection on what it means to leave a mark on the world.

MEMORIES

10.0 2025
Labyrinth

The landscape surveyed here might be the estranged interior of your typical East-European émigré animator’s skull; with its deranged narrative values, artfully disturbed graphic style, and aggressive "musique concrète" sonorities, Kamler's are among the most astounding works you'll ever see... In company of Walerian Borowczyk, Peter Foldes & Arcady, Kamler is the successor to a prestigious tradition of East European émigré animators (think: Alexieff, Bartosch, Starewycz). Like their precursors, they are also among the most distinguished artists in cinema, celebrated for their graphic style and narrative experiment.

Labyrinth

7.3 1969
Ein Münchner im Himmel

Alois Hingerl, porter no. 172 at the Munich train station, gets into heaven. St. Peter introduces him to the heavenly house rules: “rejoicing” and “singing hallelujah”. Of that, “Angel Aloisus” is not very edified, especially since he is supposed to get “heavenly manna” instead of Munich beer. Due to a few irksome events at the side, his dissatisfaction is only increased. Angrily, he sits down on his cloud in order to rejoice and sing hallelujah. But that sounds in such a way that the heavenly population’s hair stood on end. In his indignation, Alois even doesn’t mince his words towards the Lord. The latter gives in and orders Alois to deliver the divine afflatus to the Bavarian government. He sends him immediately with a corresponding letter to Munich. As “angel Aloisius” comes back home, he at once goes to the Hofbräuhaus. And like this, the Bavarian government waits till today for the divine afflatus in vain.

Ein Münchner im Himmel

7.4 1962