波兰先锋动画，呈现了埃舍尔式几何与沉重低音的交络。

Dislocation in time, time signatures, time as a philosophical concept, and slavery to time are some of the themes touched upon in this nine-minute, experimental film, which was written, directed, and produced by Jim Henson and starred Jim Henson! Screened for the first time at the Museum of Modern Art in May of 1965, Time Piece enjoyed an eighteen-month run at one Manhattan movie theater and was nominated for an Academy Award for outstanding short subject.

《挽歌》（1965）是匈牙利电影大师佐尔坦·哈斯哲里克（Zoltan Huszarik，1931-1981）早期的一部短片，很意外地在《Szindbad》的DVD中发现了这个BONUS，算是今天一个不错的惊喜吧，因为早就听说过这部获得奥伯豪森短片节金奖的作品艺术水准很高，在某些方面甚至超过了佐尔坦后来的代表作《Szindbad》。首先它出自名门 - Bela Balazs电影工作室，B.B. Studio是匈牙利最著名的实验片工厂，旗下很多导演都是六七十年代东欧前卫电影界的急先锋，以前介绍过的Gabor Body也来自那里。另外这部短片除了佐尔坦亲自做导演和剪辑工作外，主创者中还有两个有来头的人物，Janos Toth（另一位匈牙利摄影名家，Karoly Makk的《爱情》和《Cat's Play》就是他的作品）的摄影和匈牙利古典吉它大师Zsolt Durko的配乐。 其次是摄影和剪辑异常出色。全片如一首抒情诗般动人的哀歌，为悼念那些曾经帮助人们耕种运输，现在却逐渐被机器所替代而远离生活甚至结局悲惨的马，感觉有点像温贝托·莫罗的《牛车》那种哀伤，但在影像上却比它更大胆，而不只是一味的怀旧。影片的前半部分画面霭静而幽远，通过精致的灯光，器皿甚至是变形的镜头把马的身体和奔跑时的姿态展现得异常优美；而后半部分气氛则突然转变成凝重，你将看到的是梦被悲惨的现实击得粉碎，人们把老马们一匹匹地牵出来，先蒙上它们的眼睛，然后残酷地宰杀，鲜血满地，那一幕突然让我想到了法国导演弗朗叙《禽兽之血》中血腥的场景。。。 但马是无辜的啊，而且它们是通人性的。在匈牙利民族的历史中，他们与马的 关系一直都是很紧密的，马车曾经是最重要的运输工具，出现汽车后，曾经在大街小巷森林湖泊间穿行的它们又奔跑在赛场上，为人们带去更多的快乐。。。然而时间会像海浪一样不断地淘汰掉旧的事物，当那些马因为各种原因无法再为我们服务的时候，等待它们的难道只有死亡吗？而更残忍的是终级的刽子手是我们自己！是我们的冷漠正在使一个个优雅的身影变成了血淋淋的的尸体。佐尔坦的《挽歌》让我看到人类最真实的本性 - 对生命的漠视，这种本性直到今天依然会在你我和很多人的内心潜藏着。 与弗朗叙的《禽兽之血》不同的是，佐尔坦并没有遵循纪录片的方式拍下完整的过程，他要创作的是一部实验电影，自然也更注重在影像语言上的探索。《挽歌》中不仅展现出了摄影师Janos Toth出众的技术，而且佐尔坦对影片的剪辑更会令你拍案叫绝！你有可能看到的是史上最精彩的蒙太奇镜头组合之一！我从来不曾想象有人能丝毫不差地剪辑如此让人眼花缭乱的动静态分层画面，并用平行和交叉蒙太奇将马的特写镜头，人的特写镜头以及景的中远镜头连接在一起，其后又用对比蒙太奇把浸满鲜血的马头实写与抽象的灯光，模糊的人影和马戏团中的表演镜头连接在一起，形成了一组既残酷又梦幻，既现实又超现实的影像，而剪辑的节奏也紧跟着音乐的节奏行进着，从最初的缓慢逐渐加快直至最后三分钟达到颠狂的顶点然后一切又归于平静。

What happens inside a Poké Ball with space and time? This is one of several questions we face in a tale told in amphetamine-fuelled voice-over. The repeated act of zooming into a multi-purpose residential skyscraper breaks open modern family domestics to reveal increasingly bizarre tableaux. A papier-mâché Pikachu stares ahead, knowing all the answers.

29岁的张大奕，微博粉丝450万，淘宝店铺粉丝200万，曾经创下2小时销售额2000万元的销售纪录。《互联网周刊》发布的“2015年中国网红排行榜”中排第九，电商网红中排名第一。 跨时近半年的跟拍，记录了这位超级网红在直播镜头之外的样子： ▲ 二十分钟，带你看网红张大奕的面子和里子 丝棉缠绵，机器隆隆，扩张的，不只是销售额，还有整个中国的消费变革。 张大奕，被微博称为“某宝网第一网红”，网线串起美丽到消费的生产线，从边城棉田到城市加工厂，一张网红的靓照如何成为90后时尚姑娘生活中正爬梳洗剔的连衣裙？ 纪录片视线紧贴张大奕的台前幕后，和以她为中心的网络链条，第一线直击，由选款打货，拍照直播，运营粉丝，而至包装发货，管窥中国新零售之全貌，揭秘信号覆盖下各式产业相关人士生活。 无论网络红人、电商公司、云云粉丝、产业链工人。 服装的活儿从来不简单，一条裙子揉出千百种生活型态,指上柔软蓬松，但日子要怎么硬挺才能过去? 越来越多的女孩，在互联网平台上，将美丽变成生产力。 贴身记录，银幕上呈现今日中国时尚史，也是一页生活史。

There is a house. The house starts falling apart. Roof and wall collapses, slowly revealing belongings inside the house. They too collapse and break and disappear. When all goes away, a person appears, left alone in the remains.

Animated Film based on Ray Bradbury's novel "The Martian Chronicles", on the short story called "There Will Come Soft Rains..." Director: Nozim To'laho'jayev (as Nazim Tulyakhodzayev) Writers: Ray Bradbury (story), Nozim To'laho'jayev (as Nazim Tulyakhodzayev)

Charlie is released from prison and immediately swindled by a fake parson. A fellow ex-convict convinces Charlie to help burglarize a house, but Edna, the house's owner, catches them and calls the police. Charlie, however, manages to charm his way out of trouble .... at least for the moment.

This lyrical film opens with a quote from Irish mythology where Oisín describes Irish birdsong as ‘the sweetest in the world’ and urges us to ‘Stop and listen!’ What follows is a stunning, non-narrated depiction of Irish birds, animals and landscapes. Oisín was commissioned by the Department of Land of Ireland as a contribution to the European Conservation Year.

A view of man's perpetual struggle for self-destruction, in which we glimpse a world where rockets are part of everyone's lives.

Cornell employs clips from 1931's jungle melodrama East of Borneo – more specifically, clips of its lead actress, Rose Hobart – to disquieting effect. Through Cornell's collage editing, Hobart becomes a singular object of desire and dread, trapped in an exotic paradise.

This experimental animation from the Amber Film Collective stands apart from the documentaries and social realist films, mostly concerned with life and work in the North East, that would become the collective's usual stock in trade. It was the third release to appear under the Amber banner, and the second of only two animations (the other being 1969's A Film). Jellyfish employs a variety of experimental approaches, combining stop-motion and pixilation techniques, freely mixing black and white photography of beach landscapes, objects and people - along with some drawings - to build a poetic, very textured montage, eliding the real and the surreal, the beautiful and the eerie, the spirited and the deadly. Figures and objects are isolated, linked together only by their presence on a beach, all exposed to direct or indirect threats. The different jellyfish are as much at threat - washing up dead, stranded in the desolate landscape - as they are a threat - appearing suddenly and making people vanish. Jellyfish resonates with a sense of unseen menace prevalent in the 1970s, at the height of the Cold War. With its mushroom cloud shape (providing the film's most direct image), stinging tentacles and alien appearance, the jellyfish makes a potent symbol for the atomic bomb. The film makes at first implicit, and later explicit, references to nuclear threat: the emblematic jellyfish, a woman disappearing in a toxic cloud, anonymous suited politicians around a table, a recurring image of a man running (in terror?). The mood of urgency and anxiety is enhanced by the soundtrack and editing, which grow faster and more staccato as the film goes on. In 1973, at the time of the film's making, the Vietnam War was still in progress, while the full extent of the risk of a full-scale nuclear war following Russia's intervention in that year's Egypt-Israeli war only emerged later.

苏联联盟动画电影1976年根据安徒生同名童话创作的动画短片。

A young woman move towards a house that holds a potentially dangerous spirit that has been tormenting her. The woman tries to fight against the film itself as it starts to cause the world to collapse.