Winnie-the-Pooh (1969 Fyodor Khitruk)

The A.A. Milne books made it to Russia, but the Disney film versions did not, so Khitruk’s team removed Christopher Robin and imagined their own versions of Pooh and Piglet for a series of shorts. In this first one, Pooh fails to score some honey by masquerading as a small black cloud, all against charmingly hand-drawn backgrounds with lots of singing.


Winnie-the-Pooh Pays a Visit (1971 Fyodor Khitruk)

I love the voices so much in these. Pooh and Piglet visit their friend Rabbit to scam some food off him. Rabbit has exceedingly good manners, so keeps feeding his guests until Pooh can’t fit through the doorway to leave.


Curses (2016 Jodie Mack)

First light confetti blows across a white background, then it gets ever more complex, introducing different swirl patterns, until finally the last section is a rotoscoped dance swirl animation against color-strobe backgrounds. This is all a music video to an upbeat piano-rock song by Roommate (“I sing my curses in reverse and what’s worse, no one notices”). Happy flashbacks to Jeff Scher.


Blanket Statement No. 1: Home Is Where The Heart Is (2012, Jodie Mack)

Blankets, I guess… rapid stop-motion shots of fabric panels, swirling about. Only three minutes, but with more colors and patterns per second than any other film. The chirpy bloop ‘n crackle audio sounds like when I hit fast-forward on the minidisc player. Katy disapproved, said they’re not even blankets.


Blanket Statement No. 2 (2013, Jodie Mack)

Knit rows of varying colors, washing past the camera in patterns that look like abstract computer graphics, then flickering gradually to black, and back into colorful rows, the audio like the road noise in an 8-bit motorcycle racing game.


Lost Camel Intentions (1988, Lewis Klahr)

Transformation journey of a guy from skeleton airplane pilot to male silhouette balloonist to his final form: a photo of a Monty-Python-looking mustache dude against a series of automobiles. I suppose if you’re Lewis Klahr, people bring up Monty Python to you an awful lot. This was the first part of a series called Tales of the Forgotten Future which I’m not finishing right now because it kinda looks like low-detail VHS and I can find better-looking Klahr works elsewhere.


A Wish for Monsters (2012)

Forgot I’d done this… I ran the trailer for Gareth Edwards’ Monsters and the first few minutes of A Wish for Wings That Work on top of each other, setting one semi-transparent, and submitted it for Shorts Club one month.

I’ve been watching more shorts lately and posting then in thematic batches by director (Len Lye, Emile Cohl) and collection (Disney, Oscar-nominated) and time period (The Movies Begin, 1920’s & 1930’s). Here are some miscellaneous shorts that didn’t get their own thematic post.


False Aging (2008 Lewis Klahr)

Cut-out animation with a recurring yellow bird and a comic-book Adam & Eve. Looks charmingly handmade. Generally slow and dreamy but sometimes the objects flicker maniacally.

I think it’s about drugs. Soundtrack: clips from Valley of the Dolls, a Jefferson Airplane song, and John Cale reading Andy Warhol’s journals.

Klahr was ranked a top-five experimental filmmaker of the 2000’s by Film Comment, and is on the cover of this month’s Cinema Scope. “Klahr’s films construct archetypal narratives and mood trances out of the middle-class utopia we promised ourselves and never got” – M. Atkinson.


Lend/Flight (1973, Rein Raamat)

An ode to flight. Tiny red person rides some dandelion floof through the clouds, performs acrobatics up there, then comes plummetting down upon reaching the atmosphere’s edge. A series of new ideas for flying machines based on existing objects are proposed, scored by a groovy rock song, until finally a plane (and a rocket) is built, based instead on natural flying creatures. I love the color scheme and the multi-layered sky.

Raamat is known as the father of Estonian animation, founded his own animation studio in 1971. Writer Paul-Eerik Rummo was a poet who later became Minister of Culture. Music composer Rein Rannap is best known for judging Estonian Idol.


The Apple (1969, Kurt Weiler)

Whoa, this is amazing. Lively puppet stop-motion telling an anti-greed/ignorance parable – art vs. science vs. the state vs. religion – with rhyming (in German) narration. Kinda hard to explain, but involves rival scientists competing for attentions of the ruler, and trying not to get thrown in jail or burned at the stake for their ideas.

Oops:

One guy invents the drug “hormosexulin” which increases egg production from friendly bulbil creatures, and the ruler goes nuts with it, injects his henchmen, who also start laying eggs. Sometimes reminds me of Jirí Trnka’s The Hand, like when a traumatic scaffold collapse provokes genuinely disturbing cries of pain.

Placid Bulbil interrupts scientist face-off:


Riley’s First Date (2015, Josh Cooley)

Inside Out spinoff short, in which snotnosed boy (with Flea inside his head) comes to pick up Riley, sitting with her increasingly angry father while she gets ready. Mainly focused on the parents’ emotions, which according to one of the Inside Out reviews I read was the feature’s weak point, throwing out all the movie’s Riley-emotion lessons for easy retro-sitcom gender jokes. And there’s more of that here, but it’s still fun. Cooley has been in Pixar credits since The Incredibles, and taking over a spinoff short means he’s probably being groomed to codirect an upcoming feature sequel… yep, there’s his name on Toy Story 4.


Porter Springs 3 (1977, Henry Hills)

Distant trees swaying in the breeze for a minute… then what looks like a circular pan from the center of a lake sped up a hundred times. Then the trees, calmer, then the lake, crazier. If I’d known it was gonna be silent I’d have picked my own John Zorn track.


Gotham (1990, Henry Hills)

Shots of modern NYC mixed with clips from cop shows and set to a cartoony jazz track, awesome.


Goa Lawah (1992, Henry Hills)

Bats! A cave full of squeaking bats! They squabble when they get too close together while sleeping – just like our birds, who somehow didn’t respond to me playing four minutes of bat noises.


In an earlier post I reductively described actionism and watched Kurt Kren’s Leda and the Swan and Silver Action Brus. Checking out a few more from the Action Films disc.

6/64 Mama und Papa (Kurt Kren)

Hurling food and paint and dirt all over a naked woman, then Kren edits it all to pieces with no sound. He’s doing something wrong, because every time there’s an edit (so, 1-10 times per second) we see tape marks at the bottom of frame.


9/64 O Tannenbaum (Kurt Kren)

Naked man under a Christmas tree, naked woman in a shower, covered in food and paint and dirt. I’m sensing a pattern here. “Action” is by Otto Mühl in both films, and both feature men humping women with a balloon full of feathers between them.


16/67 20. September (Kurt Kren)

Remember Brus? Now he’s pissing and shitting in close-up, and now I realize why I didn’t watch the rest of this DVD last time I started it. Jesus, Kren. No screenshot for this one.


Hardwood Process (1996, David Gatten)

Flickering textures, crossfaded. Some Brakhagey slow/fast pattern-shifting. Some photographed action, slowed or sped, some filmstrip hacking. Texture fetish. Each section its own rhythm and style, separated with title cards:
“Day 203 – several hours in the library reading the history of”
“Day 296 – coming to terms with a new vocabulary, slowly”