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One of several experimental films shot in the late '60s and early '70s by the recently deceased computer music pioneer Erkki Kurenniemi, Florence is a dazzling, abstract travelogue shot between Italy, Switzerland, and the artist's home in Finland.
The film stars two computers: Elliott 803 (in the Department of Nuclear Physics, the University of Helsinki) and IBM 1130 (in the computer centre at the University of Turku). At times, the coexistence of man and machine provokes suffocating frustration. This is only the starting point for something more subtle: the art created with computers.
A spontaneous street movie, a record of ‘swinging London’ where Erkki Kurenniemi had travelled to assess the commercial potential of his instrument DIMI-A.
Flora & Fauna embraces the dark charms of nature. Rich, colourful close-ups of flowers, leaves, ants, spiders, and inchworms blend into the silent mystique of water and woods.
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 aseptic signs of technological imagination: diagrams, chips, machines, cold surfaces. But footage of human warmth also comes up - mostly in black and white, as if to give humans the status of a memory. Originally silent, the film was in this version endowed with a electronic music piece by Kurenneimi himself: a cold, aggressive soundtrack that could be said to present technology as a potentially menacing affair, although this is a reading that the director would certainly refute.
Mater finds a small UFO called Mator and they have a night out. Later, when Mator is captured by military forces, Mater sneaks up and saves him with the help of Lightning McQueen and the UFO's mother.
Short film made with the help of the Sundance Film Institute and serving as a proof-of-concept for the subsequent feature film.
A white dropout struggles to become a cartoonist and filmmaker, drawing inspiration from the harsh, gritty world around him. Still sharing his rundown apartment with his middle-aged parents, an oafish slob of an Italian father and a ditzy nutcase of a Jewish mother, he's ridiculed and looked down upon by his friends, hypocrites who run with violent gangs and the Italian Mafia, and a shallow Black girl who makes her living downtown with the pimps and pushers. The cartoonist gets a chance to pitch a film idea to a movie mogul, but the story proves too outrageous: a far-future Earth, depleted by war and pollution, where a mutant antihero challenges and kills God.
Donald has to get up early, but everything seems to be working to keep him awake. His loudly ticking alarm clock resists several attempts to quiet it. Donald ultimately swallows it; the glow-in-the-dark dial can be seen through his feathers. Then his folding bed folds up on him. Springs start popping out of it; Donald builds an elaborate framework to hold it down. Finally, enough of the clock reassembles itself to sound the alarm and night is over.
A computer hacker's goal to discover the reason for human existence continually finds his work interrupted thanks to the Management; this time, they send a teenager and lusty love interest to distract him.