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Introduction and Index: http://www.icmforum.com/topic/10129247/
Order of shorts is chronological, from the inception of the project.
Shorts unlisted on IMDb:
#11 High-Tech Exploration par Johanna Vaude (Johanna Vaude, 2016) #18 Mlad i radostan / Young and Joyful (Mario Gaborović, 2017) #21 Interstice (Andrew Thomas Huang, 2016) #27 Marilyn Manson - I Don't Like the Drugs (But the Drugs Like Me) (Paul Hunter, 1998) #28 Couch Gag for The Sampsans Epasode Numbar 553 "Clown in the Dumps" (Don Hertzfeldt, 2014) #31 Arca - Now You Know (Jesse Kanda, 2014) #43 Holy Smoke - Fake DMT Commercial (Danny Merk, 2015) #58 Inhale Atlanta - Atlanta Season 1 Promo (Rebecca Joelson, 2016) #63 cows & cows & cows (cyriak, 2010) #64 L'Arrière-Saison (Philippe Grandrieux, 2006) #65 Telephones (Christian Marclay, 1995) #68 Pieces of Spaces (Cristina Álvarez López & Adrian Martin, 2017) #77 Monkey Cucumber Grape Experiment (2012) #78 Michael Cimino par Johanna Vaude / The End of innocence (Johanna Vaude, 2017) #80 I moved to London! (Jeremiah McDonald, 2017) #90 9006 (O[rphan] D[frift>], 1998) #95 Spring (Jamie Scott, 2017) #100 Shane O'neill skateboarding (2011) #106 Life Inside a Secret Chinese Bitcoin Mine (Motherboard, 2015) #107 Cyanide & Happiness thread #115 XXX - Liquor (Mattis Dovier, 2016) #116 Transaension (Dan Baker, 2006) #122 Arrière-saison (Jean-Claude Rousseau, 2016) #127 Obrałem Ziemniaka (2011) #131 Walden Connection: The Thoreauvian Agenda in Upstream Color (Anna Catley, 2014) #132 That Mitchell and Webb Look: Alien Invasion #140 Lady Pank: Minus Zero (Zbigniew Rybczyński, 1985) #141 Blade Runner - Autoencoded (side-by-side comparison) (Terence Broad, 2016) #142 The Black Screen (Richard Misek, 2017) #143 Zero-Day (beeple, 2015) #146 Flagrant Délit / Caught in the Act / Dream of Liberty (Jean-Pierre Jacquet, 1979) #150: Fire ants colony floating! (Maggie, 2013) #151: Rendez-vous (Yan Giroux, 2016)
In no particular order.
"People do it everyday, they talk to themselves... they see themselves as they'd like to be..." - from Fight Club
This is a list with films where a character imagines and interacts with another persona - simulacra or real entities reflecting someone living, someone dead, a conscious/unconscious fantasy or a "delusion" resulting from a dissociative identity disorder, schizophrenia, psychosis and so on. It's a wide-reaching topic and as personal list I don't know how to describe it. It's about the creation of an image of someone else, summoning others. These films are about doubles, alter egos, the mind and how it can create from impressions and so on. I also included films where characters create whole worlds of imagination with different personas (based on their memory and dreams for example), where different selves are found due to time travel or parallel universes, characters create AI, new species, clones or androids, there appear tormenting spirits based on fear, with people simply fantasizing about a different hopeful future-ideal self or evoking a personal god and so on. Note not all films listed have to relate to the opening quotes.
It is likely that a common characteristic of these films is the high abundance of mirrors in these films - for they are symbols (of for example reflections, replications, simulations, doubles, many-worlds, narcissism, confusion), portals to other realms, aesthetically pleasing (and difficult to work with) objects and stimulus to characters (self-observation, gaining insight) and so on. In no particular order.
In no particular order.
"One day the AIs are going to look back on us the same way we look at fossil skeletons on the plains of Africa. An upright ape living in dust with crude language and tools, all set for extinction."
"[Y]ou brought me into this world, a suffering abomination tortured by the duality of its being. But I shall finally know peace when I watch the life drain from your wretched body!"
Films depicting (frankensteinian, emancipatory, self-preservation, power, and so on) conflicts between artilects, computers, biotechnological androids/robots and their (human) creators. Under construction, in no particular order.
Neúplné zatmení (1983)
Which jump will you take?
"Man is alone. Everyone lives alone with himself. The sooner you realize this, the better."
This phrase should particularly ring a bell for 14 year old, visually impaired Marta Rezkova. Her doctor and instructor advises this realization so that she can stop being afraid to "take the jump" and make a better effort to orient herself anew in her environment after losing sight. Focus on sounds, snap fingers to identify the degree of echo, learn Braille, use a yoyo to estimate the depth in front. But Marta doesn't seem interested. Not only does is the prospect of staying in a special boarding school until she graduates high school at 18 frightening enough, but Marta also believes that her sickly condition is life-long.
What exactly does she suffer from? It's not exactly blindness, because during her trip to the "life- threatening third floor", she tells a boy she sees "wave shapes, certain colours and movements", things she cannot understand and is unable to explain, i.e. a personal experience (or, as they were called in a different scene by someone else, "a private cinema" (resembling the concept of a "prisoner's cinema") with colours, lights and self- induced sensations) - phosphene. The film tries to visualize these through the occasional 'Vetigo'-like/Saul Bass-like on-screen visual effects and designs, that also nicely serve to quickly get to an entirely different scene, some of which are likely also part of Marta's imagination or memory. I was reminded of 'Vertigo' earlier though - right after the "blackout" and confusion there're the opening credits with mysterious music reminiscent of Bernard Herrmann's score. It nicely continues throughout the film to give a sense of anxiety.
I don't think that it's a coincidence that repeated terms and motifs, such as "nausea" after the "fall" in the "amusement park", the aforementioned "life-threatening" third floor with no railings (the cliff before the abyss of death?), dizziness, sickness, loneliness, eclipse, losing grip of reality, losing sight or "fear" before the "jump", correspond to an amalgamation of existentialist ideas and book titles. Marta is mocked in both schools she attends first she must draw a monster blindfolded, but the teacher writes "self-portrait" above for the amusement of the class, marginalising Marta the source of fun and mockery. In her second school she is unable to perform at a gym class and runs away. Moreover, she thinks about suicide ("such life is not worth living"), which she could do if she "let go" from the floor without a railing before "the abyss" (of which she dreams too), and sees a psychologist (that uses her in his research, encourages her to chant "Me! Me! Me! We're not afraid of anything" and love herself, that in the end helps Marta persevere and make the right kind of jump: the life-embracing one, where she faces fear and lands on her feet).
-"How do you perceive fear?" -"Black. ( ) I'm falling, dropping down very fast from a great height. It's all black. It's as if something slumped or tore off inside me."
Hence 'Incomplete Eclipse' is a nice allegory for a (coming-of-age) existentialist condition. It's just pleasant to watch. Technically and pacing-wise I was reminded of 'The Cremator': a fast pace, with some "illogical" editing, a voice-over, subjective approach and recurring motifs associated with height, falling and perception (there is quite the 'Vertigo' connection). This is the second Jire film I've seen (the first was "Valerie", which is one of my favourite films), and with both he shows competence and preoccupation with interesting themes, though "Eclipse" is more straight-forward and less layered.