Fundraiser progress: ▓▓▓▓▓▓▓▓▓▓▓▓▓▓▓ 100% - Jon. THANK YOU !!!! 
In Pieter Bruegel’s painting, “Landscape with the Fall of Icarus,” the fall of the god, Icarus, passes unnoticed on earth. The farmers continue to work the land and the boats sail on. As William Carlos Williams later wrote in his poem of the same name, “a once mighty god becomes a little splash quite unnoticed.” In Chris Sullivan’s version, Icarus becomes Ray, an aging priest whose congregation is dwindling as fast as his sanity. As Ray’s condition deteriorates, society fails to notice or care.
Category: Short
10-year-old Kathy prefers pigtails to curls and runs away for the day to avoid a hair appointment. While she’s off having adventures with her best pal Jeeter, her parents clash over how to handle the situation. Kathy’s mother worries that her daughter doesn’t “fit in” while her father believes she’s “just an individual” and should be allowed to grow up at her own pace. At the end of the day, Kathy must return home to face the inevitable.
An old man meditates by the sea. A little girl is building a sandcastle. A young couple is frolicking on the beach. The day fades into the evening, as do the memories of youth. Pika päeva ehavalgus (The Light of a Long Day) is a poetic short film about the course of life, shot on 16mm. It won medals at amateur film festivals in Yugoslavia, Austria, Finland, Lithuania and the Baltic Union Republics for the humanistic treatment of the subject and the best directorial and acting work.
Using a Mercedes-Benz 450SEL 6.9 early one August morning, Claude Lelouch attached a camera to the bumper of the car and sped through the streets of Paris. He set the route to be from Porte Dauphine, through the Louvre, to the Basilica of Sacre Coeur, which is straight through the heart of Paris. When this film was first shown, Lelouch was arrested, and because of this, the footage spent many years underground until it was finally released on DVD in 2003.
An ironic backstage short, in which a young actress in her dressing-room, preparing to go onstage for a play which she tells us is failing, reflects on the performers’ and audiences’ lack of enthusiasm, and reminisces about a failed love affair. Meanwhile, the other performers carouse enthusiastically and we hear the audience’s enthusiastic response.
Four people at the breakfast table, an American family, are locked in the beat of the editing table. The short, pulsating sequence at the family table shows, in its original state, a classic, deceptive harmony. Matin Arnold deconstructs this scenario of normality by destroying its original continuity. It catches on the tinny sounds and bizarre body movements of the subjects, which, in reaction, become snagged on the continuity. The message that lies deep under the surface of the family idyll, suppressed or lost, is exposed–that message is war.
An homage to action films, it tells the story of a chase using scraps of other films as different types of animation (using 65,000 paper printouts of images from 400 live action films) illustrate a classic chase scene scenario: A woman is abducted and a man comes to her rescue, but during their escape they find themselves in the enemy’s secret headquarters.