Filip dreams of writer’s glory and luxurious lifestyle in a more prosperous part of town. One day, he gets a knock on the door. His neighbour Tereza, an older woman that Filip tries to avoid by all means, asks him to write a letter for her fiancé. Filip agrees and by doing so, he gets involved in a mad game between reality and fiction.
Based on the short story “Her Lover” by Maxim Gorky.
This short film won following awards:
– Golden Spike / Best Short Film / Valladolid International Film Festival, 2013
– Vesna / Best Short Film / Slovene Film Festival, 2013
– Golden Dove / Animated Films and Videos / Leipzig DOK Festival, 2013
– TTF Shorts Award / Best Short Film / Trieste Film Festival, 2014
– Debut Prize / Hiroshima International Animation Festival, 2014
– Best Animation Film / National Competition / Dresden Film Festival, 2014
The Last Belle is an award winning 2D animated short film featuring the voices of Sienna Guillory, Colin McFarlane, and Amanda Donohoe. It is produced and directed by Neil Boyle. The film was created using classic-cartoon technology: 35,000 hand-drawn and hand-painted pieces of artwork, shot directly onto 35mm film with a rostrum camera, to achieve a traditional cartoon feel. For much more behind-the-scenes info please visit http://www.thelastbelle.com/
In a strange, dark box lives a group of box-headed elderly humanoid creatures with roots instead of legs. Most of these creatures are sunken into a catatonic sleep, unaware of anything outside their hermetic, sealed-off world.
But one of them emerges from the crowd, stunned into consciousness. Young and growing, the creature starts to cause a joyful ruckus, but struggles against the disapproval and rancor of the rest of his box-dwellers. But then the youngster begins to fight back, looking for a way outside the box but coming against its most oppressive forces yet.
Writer/director/animator Dusan Kastelic’s short animation is a surreal yet exuberant allegory about the pleasures and perils of non-conformity, being an individual and pushing through obstacles to a new level of consciousness.
The narrative takes the phrase “outside the box” and spins it into a deeply imaginative, hypnotic narrative that resembles a fairy tale. Not a sanitized children’s version of a fairy tale, however: the film instead resembles the original European fairy stories, which were dark, psychologically complex and disquieting in their emotional violence.
The images are nightmarish, with their evocations of distorted flesh and murky colors. But the expressiveness of the creatures and attention to detail — created in open-source 3-D software Blender — are remarkable from a technical and emotional level, and draw in viewers with a powerful combination of gesture, sound and storytelling.
Despite the claustrophobic world portrayed in the film, there are splashes of zany humor and joy, particularly as the younger creature expresses its unbridled childlike self. The musical score and sound design by Mateja Staric go a long way to create contrast between stultifying conformity and youthful individualism, as well as keeping the narrative at a consistently engaging pace.
Despite its strange appearance, the uninhibited joyousness and high spirits of the newly emergent creature are so much like the energy of children, and viewers cannot help but relate. Yet “The Box” becomes genuinely sad and painful as the youngster is repeatedly brought down and cut down to size, and confronts the mechanisms of the box itself that keep its inhabitants docile and in the dark.
Watching that struggle becomes a powerful metaphor for the oppression and conformity that we all face, whether it’s the box that society puts us inside or the ones we put ourselves in. To watch the creature struggle against a dark, narrow world is hard, and yet, as the creature discovers, as long as you can feel a spark of an essential self, there is always a way towards the light.
Stream & download: https://dannyelfman.ffm.to/littoc Director: Sven Gutjahr Created by Berit Gwendolyn Gilma & Sven Gutjahr Producer: Berit Gwendolyn Gilma Production Manager: Philip Treschan Featuring: Dæmon Clelland aka SHREK 666 Co-performer: Carra Art direction: Berit Gwendolyn Gilma Cinematography: Sven Gutjahr / 1st AC: Philip Treschan Set design: Joan Ling-Li Nesbit-Chang Gaffer: Esra Tanriverdi Character design & prosthetics: Dæmon Clelland Make-up: Leana Ardeleanu Custome design: Dæmon Clelland & Joan Ling-Li Nesbit-Chang Choreographer: Franka Marlene Foth Insert performer: Danny Elfman Videographer additional footage: Melisa McGregor Make-up additional footage: Lizbeth Williamson Casting assistance: Roberta Caminneci Pizza boy: Alexander Elschner-Linda Cat: Mango Strip Club: Angels Berlin Filmed in Berlin, 2021 —————————— Official Site: https://www.dannyelfman.com/
Music & Lyrics by Danny Elfman Produced by Danny Elfman Recorded by Noah Snyder Additional Engineering: Nick Rives & Matt Tuggle Mixed by Zakk Cervini Mix Assistant: Nik Trekov Mastered by Joe LaPorta at Sterling Sound Vocals, Guitars & Synths by Danny Elfman Drums – Josh Freese Guitars – Nili Brosh Bass – Stu Brooks Percussion – Sidney Hopson Strings – Lyris Quartet String Orchestration by Steve Bartek Orchestration Assistant – Marc Mann Midi Prep – Orlando Perez Rosso Executive Produced by Laura Engel Project Produced by Melisa McGregor Danny Elfman’s Representation – Kraft-Engel Management —————————— Love In The Time Of Covid (Lyrics by Danny Elfman)
Living a life in a nutshell – Living a life in a nutshell Stay inside and you’ll do well – break any rules and they might tell
World outside is humming — The mountain goats are sunning This shit ain’t no fun, open the door and run….
Now nobody likes you, what a shame Now nobody likes you, now nobody likes you… Ooh, she likes me – ooh, she likes me, messages excite me Ooh she likes me….
Love in the time of Covid
Keeping it, keeping it all inside I want to see you, I want to see you Without your clothes, without your skin Without your skin – Without your skin Sinning, sinning, sinning – Zoom me at midnight
I want to see you – without your clothes, without your skin I want to see you – without your skin without your skin
Living a life in a nutshell, staying inside is a tough sell Sniffing around for some intel – if I run out of buds it’ll be hell Outside birds are singing – church bells are ringing I’m filling up with feeling – open the door and run
Now nobody likes me (Nobody likes you)
Ooh, she likes me – her videos excite me, Under the virtual moonlight, we got a date at midnight
Love in the time of Covid
Watching the cat, watching the cat, Bouncing off the walls (I feel like that) – let’s make a rendezvous It’s almost like having you in the room, I want to have sex (too soon) – I can almost feel you Starting to spin, staring to spin Looking up, looking out, looking in I’d give the world just to touch your skin.
As his town is flooded by water, an aged widower is forced to add additional levels on to his home in order to stay dry. But when he accidentally drops his favorite smoking pipe into the lower submerged levels of his home, his search for the pipe eventually makes him relive scenes from his eventful life.
Vincent is a 1982 stop motion short horror film written, designed, and directed by Tim Burton, and produced by Rick Heinrichs. It is the second Disney horror film, the first being The Watcher in the Woods. At approximately six minutes in length, there is currently no individual release of the film except for a few bootleg releases. It can be found on the 2008 Special Edition and Collector’s Edition DVDs of The Nightmare Before Christmas as a bonus feature and on the Cinema16 DVD American Short Films.
The film is narrated by actor Vincent Price, a lifelong idol and inspiration for Burton. From this relationship, Price would go on to appear in Burton’s Edward Scissorhands. Vincent Price later said that Vincent was “the most gratifying thing that ever happened. It was immortality — better than a star on Hollywood Boulevard”.
Frankenweenie is a 1984 short film directed by Tim Burton and co-written by Burton with Leonard Ripps. It is both a parody and homage to the 1931 film Frankenstein based on Mary Shelley’s novel of the same name. Burton later directed a feature-length stop-motion animated remake, released in 2012.
At a political club, the members debate whose bust will replace that of Theodore Roosevelt. Unable to agree, each goes to a sculptor’s studio and bribes him to sculpt a bust of the individual favorite. Instead, the sculptor spends their fees on a dinner with his model during which he becomes so inebriated that he is taken to jail. There he has a nightmare, wherein three busts are created and animated from clay (through stop-motion photography) in the likenesses of Democrat William Jennings Bryan and Republicans Charles W. Fairbanks and William Howard Taft. Finally an animated bust of Roosevelt appears.
Outrageous yet tender, the film begins with the skip of a cracked 78 rpm record and a handmade title festooned with streamers and lettered in dripping red. In vignettes continuing in this vein, characters occasionally stumble on glimmers of beauty in their bleak existence: a view from the roof and kids drawing on the sidewalk. The scenes are unsettling in their immediacy. Jacobs embraces the New York City streets as his stage and improvises props and costumes from castoffs. The characters, including Jack Smith and Jerry Sims, are completely at ease with the camera. They cavort, they pose, they affront, and they demand our attention. Like it or not, we are made part of the scene.
For many years Jacobs played 78s at screenings, again transforming poverty into a live-performance asset. A grant from Jerome Hill facilitated by Jonas Mekas enabled Jacobs to add voice-over to the middle section and create a sound print. By this time, his relationship with Smith had soured, and he had lost touch with most of those pictured. Jacob’s narration, presented self-consciously as anything to distract you from talking to each other, acts as a remembrance of things past. The closing vignette, shot on a New York rooftop on a crystalline day, shows Smith clowning with a balloon to the tune of Happy Bird. In Little Stabs at Happiness, moments in the sun do not last.
Ken Jacobs is an experimental filmmaker, who, along with Stan Brakhage, Jonas Mekas, Maya Deren and others, helped spearhead the American avant-garde film movement. His impressive filmography spans more than 60 years and 45 films, utilizing just about every experimental technique imaginable. In the ’60s, he helped redefine the notion of domestic (home) movies, and along with it, domestic space—pioneering work that expanded the parameters of art cinema, and also, coincidentally, the gender expectations of male artists. Jacobs has also experimented with found footage, creating such memorable works as Star Spangled to Death, a nearly seven-hour epic charting an alternative U.S. history. Most recently, he has been reformatting, reworking, and altering silent films to give illusions of depth, creating experimental, heavily stroboscopic abstract cinema, and 3D. At every stage of his career, Jacobs has sought to push the technology as far as it can go and to challenge his audiences to think about politics, gender, class, race, documentary, and movies differently. This series provides a rare opportunity to see the work of one of the greatest living American filmmakers.
The ‘?’ Motorist is a 1906 British short silent comedy film,commonly called “The Mad Motorist” or “Questionmark Motorist” and directed by Walter R. Booth. Released in October of 1906, the film features a couple on the run from the police. While running from the police, they end up driving over the policeman, who magically recovers seconds after and continues to run after the car. Soon the couple comes to a building and their car magically drives up the wall, evading the stunned policeman and leaving an amazed crowd behind. The car drives past stars on clouds, around the Moon, and around the rings of Saturn before crashing through the roof of Handover Courthouse. The car drives through the courthouse and outside once more, interrupting the hearing. Outside on the road, a policeman and court officials stop the car which suddenly turns into a horse and carriage. The couple drives off in the carriage victoriously having escaped a ticket. The trick film is “one of the last films that W.R. Booth made for the producer-inventor R.W. Paul,” and, according to Michael Brooke of BFI Screenonline, “looks forward to the more elaborate fantasies that Booth would make for Charles Urban between 1907 and 1911, as well as drawing on a wide range of the visual tricks that Booth had developed over the preceding half-decade.”
Booth later remade the film as The Automatic Motorist in 1911.
The film has also been compared to the work of Georges Méliès and “The Impossible Voyage.”
The Automatic Motorist
Walter R. Booth (1911)
A Trip to the Moon
Georges Méliès (1902)
A Trip to the Moon (French: Le Voyage dans la Lune) is a 1902 French silent film directed by Georges Méliès. It’s considered one of the first science fiction film.
The Impossible Voyage
Georges Méliès (1904)
The Impossible Voyage (French: Voyage à travers l’impossible) is a 1904 French silent film directed by Georges Méliès. Based in part on Jules Verne’s play Journey Through the Impossible and modeled in style and format on Méliès’s earlier, highly successful A Trip to the Moon, the film is a satire of scientific exploration in which a group of geographers attempt a journey into the interior of the sun. Since the film is silent and has no intertitles, the proper names and quotations below are taken from the English-language description of the film published by Méliès in the catalog of the Star Film Company’s New York Branch.
Frankenstein is a 1910 horror film made by Edison Studios. It was directed by J. Searle Dawley, who also wrote the one-reeler’s screenplay, broadly basing his “scenario” on Mary Shelley’s 1818 novel Frankenstein. This short motion picture is generally recognized by film historians as the first screen adaptation of Shelley’s work. The small cast, who are not credited in the surviving 1910 print of the film, includes Augustus Phillips as Dr. Frankenstein, Charles Ogle as Frankenstein’s monster, and Mary Fuller as the doctor’s fiancée.
The first-ever film version of Lewis Carroll’s tale has recently been restored by the BFI National Archive from severely damaged materials. Made just 37 years after Lewis Carroll wrote his novel and eight years after the birth of cinema, the adaptation was directed by Cecil Hepworth and Percy Stow, and was based on Sir John Tenniel’s original illustrations. In an act that was to echo more than 100 years later, Hepworth cast his wife as the Red Queen, and he himself appears as the Frog Footman. Even the Cheshire cat is played by a family pet. With a running time of just 12 minutes (8 of which survive), Alice in Wonderland was the longest film produced in England at that time. Film archivists have been able to restore the film’s original colours for the first time in over 100 years.
Music: ‘Jill in the Box’, composed and performed by Wendy Hiscocks.
This restoration was supported by The Headley Trust and The Pilgrim Trust.
Rabbits is a 2002 series of eight short horror web films written and directed by David Lynch, although Lynch himself refers to it as a sitcom. It depicts three humanoid rabbits played by Scott Coffey, Laura Elena Harring, and Naomi Watts in a room. Their disjointed conversations are interrupted by a laugh track. Rabbits is presented with the tagline “In a nameless city deluged by a continuous rain… three rabbits live with a fearful mystery”.