Set in a Tuscan eden, Rocca Dell’s short film “Calcio” develops a contemporary digital mythology by setting four “calcianti” – players of Florence’s historic form of football, the Calcio Storico Fiorentino – against the rich and harmonious landscapes of Tuscany, while expanding both space and time in order to convey the artist’s very personal dreamscape: a hybrid of the natural world, or rather a synthetic, artificial interpretation of it.

Follow the personal life of Jerrod Carmichael, through his encounters with friends, family, and strangers, all in his search for love, sex, and connection.

An animated visual interpretation of the song "Autobahn," by German electronic pioneers Kraftwerk. A fast-paced experimental film which proved to be a groundbreaking combination of electronic and manual animation. One of the first films produced specifically for video disk.

Adam Fleming, Laura Kuenssberg and Chris Mason discuss the week's biggest stories.

A brief, abstract exploration of identity.

A short avant-garde film from Finnish director Eino Ruutsalo.

A short avant-garde film from Finnish director Eino Ruutsalo.

Experimental color film that shows a magician and his assistant making objects and people appear and disappear. Then they stack up some blocks and a moving picture of a little girl appears on them.

Erkki Kurenniemi was arguably one of the first artists to propose or fantasise about a complete cultural surrender to cyber existence, and his entire career, covering such diverse fields as artificial intelligence, music, engineering, film, dance or rhetorics, testifies to this desire to escape the limits of the human body and transgress into a different dimension, bordering on techno-fetishism. In his 1964 short Electronics in the World of Tomorrow, Kurenniemi presents a slideshow of the most a

Its slow somnambulic rhythm, its animalistic jungle sounds as well as the eerily mixed images create a dream mood that comes closest to my actual dreaming-feeling. The long black phases between the sequences are as important as the images themselves because they leave empty space where the "echo" of the last image can seep through without interfering with the following image. But our logical mind still somehow feels compelled to construe some kind of sense, parallel, or some erratic story out of

O’Leary’s second film is a disjointed collage of beautifully shot footage with the filmmaker’s primitive and experimental soundtrack (lots of harmonium in this one). There are cityscapes, signs and billboards, nudes and plenty of cameos by other French actors/filmmakers of the day. Those with a sharp eye will spot Pierre Clementi (also credited as a cinematographer), Juliet Berto, Michel Auder, Frederic Pardo and more. —Herb Shellenberger