We don’t quite know what to make of Ray Tintori’s Jettison Your Loved Ones — a deranged, no-budget sci-fi epic about perpetual motion and families — other than to say that it’s some of the most hypnotic and strange six minutes you’ll ever spend staring at a computer screen.
We were shocked recently to discover that a couple of our readers didn't quite understand just how stop-motion animation worked. So, we unearthed this little gem, which was created last year by Canadian high schooler Joel Plosz for a science-fair project.
First, a word of fair warning: This week's film features gruesome beheadings, rotting corpses, mouse-eating, a pile of shit, and a human uvula used as an action-movie prop.
British director Faisal Qureshi’s five-minute short The Applicant starts off as an unsettling look at an awkward job application, but before fade-out it turns into something else — something way more disturbing.
In Amy Talkington's touching and playful 1998 short Second Skin a mopey pet-store employee (Glenn Fitzgerald, currently Brian Darling on Dirty Sexy Money) doesn't quite know what to do when a lovely, rebellious girl (Aleksa Palladino, who can also be seen in Before the Devil Knows You're Dead) comes into his shop and purchases the python he's been doting over.
For whatever reason, horror isn’t a common genre in short films, possibly because creating tension and terror often requires too much setup to make it viable for abbreviated running lengths. Repugnant, Michael and Martin Vrede Nielsen’s no-nonsense exercise in tingling our collective spines, is an interesting exception.
He spent years trying to make sense out of this chaos and, when that failed, completely reinventing the film.
Shooting backward is one of the oldest tricks in the book (at least as old as Top Secret!), but in the right filmmaker's hands, it can still work beautifully.
A little-seen short film from the masterful director of Killer of Sheep.
With its collagelike aesthetic, its deadpan lyrical voice-over, and its truly bizarre portrait of one unfortunately demented (yet ultimately harmless) soul, Erika Yeomans's Chubby Buddy plays like a George Saunders story come to life.
Planet of the Arabs is a hilarious, scathing, and rapid-fire montage of stereotypes of Arabs culled from popular movies and TV shows that plays like some budding neocon’s ADD-infused fever dream.
It's an amazing, dreamy vision of Coney Island, all the more remarkable for the then-novel camera techniques required to capture it.
The Guest Room, directed by Skander Halim, director of Pretty Persuasion.
Burning Safari, by students of the Gobelins School of Image.
Is the Western back? Maybe so, if this short film has anything to say about it.
A hilariously deadpan flick about two Milwaukee roommates who can't pay their rent or get much of anything done because they can't stop competing with one another in a series of pointless contests.
Well, summer’s over, and the kids are going back to school. Thinking of this momentous time brought to mind Dear Lemon Lima, directed by Suzi Yoonessi, which screened earlier this year at the Tribeca Film Festival.
Today, we're featuring one of Kenneth Anger's earliest and most beautiful films. The footage was shot in 1949, but you'll probably be shocked at how modern it feels.
Here, we reenter the beloved gorilla-baiting plumber’s life long after he’s rescued Princess Peach from the Mushroom Kingdom. Now, Peach and Mario are living in a dump in Brooklyn, and Mario’s mushroom habit has become, well, a problem.
D.W. Griffith makes film history.
Imagine a treacly high-school docudrama about acceptance, cliques, and the secret shames of peer pressure. Now imagine it set in a world where all anyone cares about is plumbing.
I Am (Not) Van Gogh, a cross between public art and live-action animation, is a pretty spectacular way to spend four minutes.
When filmmaker and media artist Jem Cohen, director of Benjamin Smoke, shot footage of a rah-rah military parade in lower Manhattan sometime in the early nineties, it’s more than likely he didn’t quite know what he had.
Poe's elliptical story has provided fodder for many elaborate feature-film retellings, but Lougee's ruthlessly efficient take is short and to the point, packing in a whole lot of tension into seven slim minutes.
Remember Peter Greenaway? No? Back in the eighties, he was heralded as the savior of international art-house cinema – dense in his themes, gloriously scatological in his plots, and possessing a keen sense of pictorial beauty.