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A kinetic film sketch designed to involve the viewers muscles. The rocky seaside cliffs near Stinson Beach, California, hold the wrecked carcass of a #52 pickup that is a rusting monument to Hot Leatherette. Preserved by the Academy Film Archive in 2005.
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5 min
1967-01-01
Released
English
0
0
7.5
Wallace and Gromit have run out of cheese, and this provides an excellent excuse for the duo to take their holiday to the moon, where, as everyone knows, there is ample cheese. Preserved by the Academy Film Archive.
1990-05-18 | en
7.8
Wallace rents out Gromit's former bedroom to a penguin, who takes up an interest in the techno pants created by Wallace. However, Gromit later learns that the penguin is a wanted criminal. Preserved by the Academy Film Archive.
1993-12-17 | en
7.6
Wallace's whirlwind romance with the proprietor of the local wool shop puts his head in a spin, and Gromit is framed for sheep-rustling in a fiendish criminal plot.
1996-03-07 | en
0.0
An ode to queer sex and drugs, boys shooting up and kissing. Preserved by the Academy Film Archive in 1998.
1966-11-02 | en
8.3
As the railroad builders advance unstoppably through the Arizona desert on their way to the sea, Jill arrives in the small town of Flagstone with the intention of starting a new life.
1968-12-21 | it
6.8
A bored insurance salesman quits his job to go into politics. He first starts preaching about how man is greater than he thinks and that man can live forever. He ends up forming his own political party, "The Eternal Man" party. He begins to be referred to as "God". Then he starts having doubts about the eternalness of man.
1962-06-01 | en
0.0
Documentary short film reporting on the activities of the American Red Cross and the useage made of contributed funds for the previous year. Preserved by the Academy Film Archive in 2012.
1945-02-01 | en
0.0
Regrettably, the labour of projectionists is usually only considered by the audience when they ‘screw up’. This film offers an alternative opportunity. Preserved by the Academy Film Archive in 2014.
1976-01-01 | en
0.0
No montage, no human subjects, minimal visual content, and the artists basically pissing on the fourth wall by calling attention in every way possible to the artifice of what they’re doing. Preserved by the Academy Film Archive in 2009.
1973-01-01 | en
0.0
The inevitable subjectivity and diaristic potential of landscape is foregrounded in this semi-structuralist work of weird poetic beauty. Preserved by the Academy Film Archive in 2013.
1976-01-01 | en
9.0
A bewitching, mysterious work of enveloping beauty, the film’s ominous title and a dedication to Anne Frank deeply inform our reading of its haunting subtext. Preserved by the Academy Film Archive, in partnership with the National Film Preservation Foundation, in 2009.
1979-11-16 | en
4.0
A truly major work, I Don’t Know observes the relationship between a lesbian and a transgender person who prefers to be identified somewhere in between male and female, in an expression of personal ambiguity suggested by the film’s title. This nonfiction film – an unusual, partly staged work of semi-verité – is the first of Spheeris’s films to fully embrace what would become her characteristic documentary style: probing, intimate, uncompromising. Preserved by the Academy Film Archive in 2014.
1971-11-09 | en
5.5
Les Blank's poetic documentation of 1967's Los Angeles Easter Sunday Love-In. Preserved by the Academy Film Archive in 2002.
1968-10-01 | en
0.0
Rephotographed pornographic playing cards rhythmically intrude upon a piercing 5-beat score of different-sized black parallel lines, creating an almost indiscernible complexity, until the lined background ruptures and the sounds and visuals become scattered and disordered. The "girlie" cards break out onto saturated color fields and eventually find their way into the real world, aggressively flickering by against backgrounds of earth, concrete and other surfaces. Preserved by the Academy Film Archive in 2016.
1988-07-14 | en
0.0
The hand-painting of this film is interrupted by, and interspersed with, a geometrically structured Mask of Death (one of those frightening human idea-shapes of dying) immediately caught-up in threads of streaming, polarized crystals of Light (elaborately step-printed, with simultaneous frame-to-frame dissolves and printer "pull-backs" creating an effect as if the room in which the film is being viewed was inhaling viscous strands of Life's chemical material). The blurred photo-image of a person appears briefly superimposed on these "streamings": then there is a short visual "exhale" of this "crystallized" light, as the screen appears to re-absorb its imagery and resolve itself into a pale violet scattering of dust, is it? ... a nebulae, perhaps – i. e., some semblance both earthly and cosmic and (as such) as enigmatic as "the face of God." Collaboration with Sam Bush.
1994-01-01 | en
0.0
The film does not end, is never rewound, and each frame is seen twice in a single viewing: a palindrome illustrating the Chicago "elevated," the backbone of the city, shuttling its oblivious passengers to death. "Hypnotic study in motion." – Nora Sayre, The New York Times Note: Shown head to tail, then tail to head. Preserved by the Academy Film Archive in 2014.
1973-01-01 | en
7.7
A man who loves games and theater invites his wife's lover to meet him, setting up a battle of wits with potentially deadly results.
1972-12-10 | en
7.6
As the west rapidly becomes civilized, a pair of outlaws in 1890s Wyoming find themselves pursued by a posse and decide to flee to South America in hopes of evading the law.
1969-09-23 | en
7.0
The staff of a Korean War field hospital use humor and hijinks to keep their sanity in the face of the horror of war.
1970-02-18 | en
8.1
From the moment she glimpses her idol at the stage door, Eve Harrington is determined to take the reins of power away from the great actress Margo Channing. Eve maneuvers her way into Margo's Broadway role, becomes a sensation and even causes turmoil in the lives of Margo's director boyfriend, her playwright and his wife. Only the cynical drama critic sees through Eve, admiring her audacity and perfect pattern of deceit.
1950-11-09 | en