This animated short focuses on the lives of three eccentric people living on a farm in the Ukrainian countryside. Told in a non-linear, stream of consciousness style, the film depicts the deceitful relationship between a master and his two servants.
Amalia learns that her mother’s cancer is getting worse. Tonight, her mother will pass away. Amalia lives far from her because of her studies. Will she manage to reach her in time to share her final hours?
Pig, in the countryside, gets slaughtered by two butchers. After he wakes up in his room, in his bed, he realizes that it was just a dream. On his way to work, Pig notices the butcher from his dream, who starts haunting him.
María's routine at school is altered by the arrival of a very special child. Soon, they become close friends.
A little girl is taken on a mind-bending tour of her distant future.
NO NO NOOKY TV posits sexuality to be a social construct in a "sex-text" of satiric graphic representation of "dirty pictures." Made on an Amiga Computer and shot in 16mm film, NO NO NOOKY TV confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that points fun at romance, sexuality, and love in our post-industrial age. Preserved by the Academy Film Archive in 2017.
As Christmas approaches, Frannie Stein learns from her snide friend Gloria Oestriger that there is no Santa Claus. Frannie's disbelieving, but her father confirms the horrible truth. Frannie enlists the help of her younger brother, Kenny, and they go to a graveyard to dig up some parts, which they assemble in the Stein basement. Soon, they've finished their creation and are ready for revenge on Gloria. Who says there's no Santa? Preserved by the Academy Film Archive in 2012.
Odds & Ends is a sly comment on the collage film and Beat culture. To discarded travel and advertising footage found at a local film laboratory, Belson Shimane added a mélange of animation—assemblages, cutouts, color fields, and line drawings—and faux hipster narration by Jacobs (credited via the anagram Rheny Bojacs) punctuated by a bongo backing. Strung together with doublespeak and non sequiturs, the monologue skirts the edge of nonsense as Jacobs waxes on about poetry, jazz, “reaching the public,” “having a good time,” and—although “money doesn’t count”—the “possibility of subsidy” through grants. Footage of champagne, tropical beaches, and exotic peoples intermingle with rhythmic drawings and stop-motion flights of fancy. The visuals race on through dazzling transformations, both amplifying and undercutting the patter. —National Film Preservation Foundation. Preserved by the Academy Film Archive in partnership with Iota Center Collection in 2006.
A symbolic reflection on issues of female sexuality, art and identity constructs.
Shaggy and Scooby-Doo quit their Saturday morning TV series in pursuit of Hollywood stardom.
Jane Conger Belson Shimane's first film, Logos, premiered in 1957 and was screened at festivals in North America, Europe, and Latin America. The animated film featured an electronic score by Henry Jacobs. Preserved by the Academy Film Archive in 2001.
An mutoscope motion picture installation commissioned for the 86th anniversary of the Guggenheim museum. Later preserved and turned into a short film. Preserved by the Academy Film Archive in 2000.
Legacy takes the audience on a rapid-fire journey through the evolution of the world, starting with a cosmic bang, evolving through billions of years of plants, animals and the creation of natural resources, ending with man and his bounty – “sitting on his world contemplating his coconut”. Preserved by the Academy Film Archive in 2012.
A deer, disillusioned by the consumerism that defines his life. A lizard, ostracized from society, forever wandering. A chance meeting in the middle of a field. Who will survive? And who will transcend existence? Preserved by the Academy Film Archive in 2009.
Aurelio is an eight year old boy whose mother is very sick. One night, he sees her crossing a door, when he follows her, Aurelio finds himself in the world of the dead. There, he finds "La muerte" (The death), who then becomes his mentor and helps him finding his mom. When he finally finds her, he must decide whether go back to his world or stay there with his mom.
Opens with a short canonical statement of a theme upon which the entire film is constructed. The canon is repeated in contrasting variations by means of color. A second section poses the same image in deep film space. The image unfolds itself repeatedly, leaving the receding image to continue on smaller and smaller. Preserved by the Academy Film Archive in 2005.
In a lonely, rocky area dotted with human bones, the vulture takes its latest sacrifice. It then disappears into the rock hole to leave as a dove of peace with an olive branch in its beak.
