Ralph Bakshi (1973)

Heavy Traffic is a 1973 animated film written and directed by Ralph Bakshi, based on the 1964 novel Last Exit to Brooklyn. The film — which begins, ends, and occasionally combines live-action — explores the often surreal fantasies of a young New York cartoonist named Michael Corleone. The film uses pinball imagery as a metaphor for inner-city life. Heavy Traffic was Bakshi’s and producer Steve Krantz’s follow-up to the film Fritz the Cat. Krantz made varied attempts to produce an R-rated film, but Heavy Traffic was given an X rating by the MPAA. The film received positive reviews and is widely considered to be Bakshi’s biggest critical success.

Jan Ĺ vankmajer (1982)

Three surreal depictions of failures of communication that occur on all levels of human society.

Dimensions of Dialogue is a 1983 Czechoslovak animated short film directed by Jan Ĺ vankmajer. It is 14 minutes long and created with stop motion.

Terry Gilliam selected the film as one of the ten best animated films of all time.

Brothers Quay (1984)

The Cabinet of Jan Svankmajer is a 1984 British surreal short stop-motion film by the Quay Brothers, an homage to the influential short filmmaker Jan Švankmajer.

This early film by renowned animators the Quay Brothers is structured as a series of little lessons in perception, taught by a puppet simulacrum of Jan Svankmajer, whose head is an opened book, to a doll whose head the master empties of dross and refills with a similar open book. Each of the nine segments or chapters “refers variously to the importance of objects in Svankmajer’s work, their transformation and bizarre combination through specifically cinematic techniques, the extraordinary power of the camera to ‘make strange’, the influence of Surrealism on Svankmajer’s work, and the subversive and radical role of humor. Taken out of the context of the original Visions television documentary on Svankmajer, for which they served as illustration/commentary, these vignettes might at first sight seem a trifle bewildering. They ideally need to be viewed more than once before they begin to work effectively as quirky introductions to the Svankmajer universe. Then, however, they emerge as surprisingly charming and delightful excursions into this astonishing (and often deeply disturbing) directors work.” –Julian Petley