Reflections of the neon lights, pedestrians, and street traffic on the sidewalks of New York’s Times Square at night in the rain… the lights resemble precious gems and the shiny sidewalks appear to be animated stained glass windows.

A short film which documents the 4 minute train ride from London to Brighton.

The film is a short documentary about alchemical engravings.

A young man meets a young woman under a bridge by a railroad. They shelter from the rain and exchange a kiss. The man grows sullen and leaves. The film starts with him and ends with her. It’s a straightforward anecdote told in traditional ways, the likes of which he’d forsake forever; that is, it uses actors, a soundtrack with music and post-dubbed sound effects, a photographer who frames everything professionally and a coherent edited narrative.

Biopic of Australian swimming champ and entertainer Annette Kellerman. After overcoming polio, Kellerman achieves fame and creates a scandal when her one-piece bathing suit is considered indecent.

Spike is building his dream house when Tom crashes into it mid-chase. Of course, Jerry then takes every opportunity to route the chases through the construction project.

The story of a little house, experiencing isolation progress through the ages, finding happiness in the quiet, simple countryside.

A surreal story of two neighbours' destructive feud over a flower.

Short about Mrs. Weisweiller's Villa in Saint-Jean-Cap-Ferat, on Côte d'Azur, which was decorated by Jean Cocteau.

An experimental short using fabric stencils, set to blues music.

A short film from Margaret Tait capturing the daily life of her mother, Ga.

A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s and the 1950s. Set to classical music by the likes of Bach, Saint-Saëns, and Shoshtakovich, and replete with rapidly mutating geometries, Bute’s filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute’s films were “composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.” Bute herself wrote that she sought to “bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.”

An imageless film, The Anticoncept was first screened on 11 February 1952 at the cinema club "Avant-Garde 52," where it was projected upon a large white weather balloon. It consisted of blank illumination accompanied by a staccato spoken soundtrack. The French censors banned the film on 2 April 1952. When the Lettrists visited the Cannes Film Festival the following month, they were forced to restrict the audience to journalists only. The text of the soundtrack was published in the sole issue of the Lettrist journal Ion (1952).

An animated film drawn entirely in pastels. Various fantastical plant-like things "grow" from the ground, eventually launching five spheres. The spheres drift in space while changing shapes and come back down to another setting, which eventually becomes more fantastical and symbolic than the opening one. The soundtrack has a jazz slant, with an ensemble of four saxophones and synthetic sound (i.e. sound created by drawing directly on the soundtrack).

Poetic film illustrating man’s discovery of the world and his conception of his own place in it by means of the primitive art of India, America, Africa, and Oceania.

Styles of architecture used in the 1951 South Bank Exhibition, London.