The word “me” sinking into a bubbling puddle of metallic goo. The piece is about how narcissistic artists have to be to make their work, but by admitting their narcissism, they can at least take some steps to control it.
Social & External
In this reflective short film, the Weeknd speaks to his younger self, encouraging him to ask questions about the future and remember the light before it's all gone.
The film’s visual structure is principally composed of variations on the arabesque: arcs of light, water spouts, spider webs, burgeoning trees, flowers and foliage, a woman’s smile, arms stretching, an arm giving rhythm to a rocking chair. It uses natural elements (light, mirrors, water, and wind) and photographic techniques (multiple exposures and lenses) to distort the various elements, or to intensify their design.
A lone humanoid creature explores the darkness of a mysterious gun-metal labyrinth.
MTV station ident.
The Big Bad Wolf stalks Little Bo Peep and steals one of her sheep. She enlists Little Boy Blue and a dancing scarecrow to assist her and her mischievous black sheep in rescuing it. Singing, dancing, hilarity and impalement ensue.
A child is born. We see underwater swimmers representing this. He is young, in a jungle setting, with two fanciful "instincts" guiding him as swooping bird-like acrobats initially menace, then delight. As an adolescent, he enters a desert, where a man spins a large cube of metal tubing. He leaves his instinct-guides behind, and enters a garden where two statues dance in a pond. As he watches their sensual acrobatics of love, he becomes a man. He is offered wealth (represented by a golden hat) by a devil figure. In a richly decorated room, a scruffy troupe of a dozen acrobats and a little girl reawaken the old man's youthful nature and love.
A father takes his two children eating in a public park. While the older sister feels unwanted because of her baby sister, she wanders off in a distant corner where sinister red eyed animals talk to her.
Through thread and textile, an Asian seamstress tries to escape from the factory.
Deep in the forest, a hunter encounters a strange creature he cannot kill.
The daughter of a king, who also is a wizard, helps her beloved to outwit her father.
Snarky, monster-porn-dealing teen, Baxter Zevcenko, might be a serial killer. His girlfriend, Esme, is missing, and he’s the prime suspect. To clear his name, he’ll turn to Cape Town’s grizzliest, drunkest bounty hunter, Jackson ‘Jackie’ Ronin. Little does he know that Ronin is a supernatural bounty-hunter, and that he’s about to be dragged headlong into a deep, dark Cape Town underbelly full of monsters and myth, shadowy government forces, bloodthirsty crow-men and a conspiracy across time and space.
A cockroach with artistic aspirations follows an angst-ridden and talentless artist from pub to studio in pursuit of his dream, and comes to a sticky end.
An incomplete project, Dorothy the Kansas City Pothead stars John Waters' long-time casting agent Pat Moran in the role of Dorothy.
A young man and woman enter an empty house where they plan to live for their newlyweds. The woman is not happy with the old and gloomy house and complains nonstop. The man ignores the woman's complaints and silently explores her house. There is a woman in front of him who is trying to complete the present with pieces of the past. The house without her family is like ruins. It is a work that projects the empty efforts of modern people to restore the meaning of a broken family into a terrifying fantasy.
Experimental filmmaker and color cameraman here collaborate in a surrealistic retelling of the old myth. But this is a dream fantasy with no real parallel to Pandora, replete with striking symbols where everything is larger than life--the silhouetted image of a mother and an infant, the profiled view of two sculptured heads spouting smoke and fire.
We are first presented a cobweb castle, filled with the haunting doubts of the young protagonist. Spirits appear on the screen and are heard on the soundtrack. Gradually a female guide emerges and escorts the young man into an antechamber to another (and possibly higher) world.
The model’s feet are uncomfortably squeezed into the heels, and her movements are slippery on slick silver liquid, before she slowly and ominously destroys the glass pane separating the subject from the viewer.
Elias is an I.T. technician preparing for an overnight gig. He thinks he's totally alone in the building and is about to find out he's wrong.
Placing a word widely acknowledged as amongst the most offensive in the English language into the hands of each of the women in her video, Minter reclaims it from chauvinistic associations and rescues it from centuries of censorship and degradation.
A little boy's desire to meet Santa Claus takes a dark turn.