Light Motif by Steve Reich
Frédéric Bonpapa, 2014
It’s very ambient in its subject vs. setting contrast, where the music affects the environmental transitions. 3.5/5
Halo Getters by Hiss Tracts
Karl Lemieux, 2014
The industrial progression fits the nuked landscape filmed, the equally scarred stock, and the sun likely setting forever on both. 3.5/5
“The Ooli Moves by Nicole Mitchell’s Black Earth Ensemble”
Adebukola Bodunrin, 2014
Though the Fantastic Planet vibe shoved its way into my mind, Bodunrin cited Lilith’s Brood by Octavia Butler as the sole influence, to the point that it becomes a kind of adaptation. Separated, the respective music and imagery each inhibits a nightmarish mood of otherworldliness that makes for perfect layering. 5/5
Forgiven/Forgotten by Angel Olsen
Zia Anger, 2013
The inclusion of a ‘scratched out’ character works in making the message of the lyric narrative literal. 3/5
Autumn by Bear in Heaven
Peter Burr and John Lee, 2014
Quite the funky indie vibe. To go with infrared. 3.5/5
Envy by the Able Sea
Daniel Stuyck, 2015
Slow surf guitar and a blue/pink color combo always leads to infinite sexiness. And unlike most other flashing light films during the week, Stuyck generously included a warning even if mockingly. 4/5
Cirrus by Bonobo
Cyriak, 2013
The visual prize of the program. The pacing of image component mashups couldn’t have a better peak than the representation of giant bots marching across the screen. 5/5
Coupe by Future
Christopher Carboni, 2014
Doc Brown, Daphne Blake, and Jesus Christ. What a ride. 4.5/5
WYIE by SICH MANG
Theodore Darst, 2014
Darst puts across a sense of entrapment through dated virtual reality and internet visuals. 3/5
Bromp Treb Spring Tickles Tour “promercial” by Neil Young/Bromp Treb
Neil Young/Bromp Treb, 2014
At the least, I’m glad it didn’t include prior consumer input. 5/5
Pathetic Magic by Thank You
Karen Yasinsky, 2012
Stop-motion collage caught between the heavens, the sea, and what may be a separate universe. 3.5/5
Tubal Freaks – Sneak a Peak by Black Vatican
Andy Roche, 2014
Fishing lines have jumped the turtle. Shark, I meant - you know what, leave. 4/5
Choreography for Justin Bieber
Craig Webster, 2015
Great opening angle that’s beneficial to its foreboding shadow and filter effects. 3.5/5
IWI by Acteurs
Alexander Stewart, 2014
What a synth pulse to coincide with such line textures. 3/5
Beautiful Things by the Wet Darlings
Mike Olenick, 2015
Another romance-tinged pieced involving a not-from-this-planet/dimension figure. This time, however, its more heartfelt and more comic-themed. Or, anime, either or. 4/5
Heavy Flow by A.E. Paterra
Tony Balko, 2013
Points are awarded for the classic scene (from Nightmare on Elm Street) relied on for this gif-like looping and editing experiment. 3/5
Never Catch Me by Flying Lotus featuring Kendrick Lamar
Hiro Murai, 2014
Nothing since Cults’ “Go Outside” entry a few years back has been more crushing. This video proceeds with imagery that takes coincidental analogy to an unsettling discovery just days before. The song sets up the choreography well, with a transition of shots aiming for joyous performance to balance the negative subject matter. 5/5
Frédéric Bonpapa, 2014
It’s very ambient in its subject vs. setting contrast, where the music affects the environmental transitions. 3.5/5
Halo Getters by Hiss Tracts
Karl Lemieux, 2014
The industrial progression fits the nuked landscape filmed, the equally scarred stock, and the sun likely setting forever on both. 3.5/5
“The Ooli Moves by Nicole Mitchell’s Black Earth Ensemble”
Adebukola Bodunrin, 2014
Though the Fantastic Planet vibe shoved its way into my mind, Bodunrin cited Lilith’s Brood by Octavia Butler as the sole influence, to the point that it becomes a kind of adaptation. Separated, the respective music and imagery each inhibits a nightmarish mood of otherworldliness that makes for perfect layering. 5/5
Forgiven/Forgotten by Angel Olsen
Zia Anger, 2013
The inclusion of a ‘scratched out’ character works in making the message of the lyric narrative literal. 3/5
Autumn by Bear in Heaven
Peter Burr and John Lee, 2014
Quite the funky indie vibe. To go with infrared. 3.5/5
Envy by the Able Sea
Daniel Stuyck, 2015
Slow surf guitar and a blue/pink color combo always leads to infinite sexiness. And unlike most other flashing light films during the week, Stuyck generously included a warning even if mockingly. 4/5
Cirrus by Bonobo
Cyriak, 2013
The visual prize of the program. The pacing of image component mashups couldn’t have a better peak than the representation of giant bots marching across the screen. 5/5
Coupe by Future
Christopher Carboni, 2014
Doc Brown, Daphne Blake, and Jesus Christ. What a ride. 4.5/5
WYIE by SICH MANG
Theodore Darst, 2014
Darst puts across a sense of entrapment through dated virtual reality and internet visuals. 3/5
Bromp Treb Spring Tickles Tour “promercial” by Neil Young/Bromp Treb
Neil Young/Bromp Treb, 2014
At the least, I’m glad it didn’t include prior consumer input. 5/5
Pathetic Magic by Thank You
Karen Yasinsky, 2012
Stop-motion collage caught between the heavens, the sea, and what may be a separate universe. 3.5/5
Tubal Freaks – Sneak a Peak by Black Vatican
Andy Roche, 2014
Fishing lines have jumped the turtle. Shark, I meant - you know what, leave. 4/5
Choreography for Justin Bieber
Craig Webster, 2015
Great opening angle that’s beneficial to its foreboding shadow and filter effects. 3.5/5
IWI by Acteurs
Alexander Stewart, 2014
What a synth pulse to coincide with such line textures. 3/5
Beautiful Things by the Wet Darlings
Mike Olenick, 2015
Another romance-tinged pieced involving a not-from-this-planet/dimension figure. This time, however, its more heartfelt and more comic-themed. Or, anime, either or. 4/5
Heavy Flow by A.E. Paterra
Tony Balko, 2013
Points are awarded for the classic scene (from Nightmare on Elm Street) relied on for this gif-like looping and editing experiment. 3/5
Never Catch Me by Flying Lotus featuring Kendrick Lamar
Hiro Murai, 2014
Nothing since Cults’ “Go Outside” entry a few years back has been more crushing. This video proceeds with imagery that takes coincidental analogy to an unsettling discovery just days before. The song sets up the choreography well, with a transition of shots aiming for joyous performance to balance the negative subject matter. 5/5
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