Cinemini: Twist and Turn Cinemini: Zasukaj in obrni

My Mom is an Airplane! Moia mama – samolet
Julija Aronova, Russia, 2013, 7 min, little dialogues
Different people have different mothers. And while they all are cool in their own way, having a mother who is an airplane is pretty much unbeatable: Travelling with her you could say hello to every sky scraper, deliver the mail to the Eiffel Tower in Paris, or place a scarf around a mountain's neck against the cold. It is hard to beat having a mother who is an airplane. But wait until I tell you what my father is...!

The Serpentine Dance Danse serpentine
Cinématographe Lumiere, France, 1897, 1 min, silent
A woman enters the stage and starts to dance and move around. In the process she smoothly shifts between different shapes which she forms by holding the edges of her dress in a number of positions. Simultaneously the colours of her dress alternate. The film depicts Loïe Fuller, the woman who invented the dance for the stage, where the colours of her dress changed because of the different angles in which the light hits the fabric of her dress. To reproduce this effect the Lumière brothers shot the dance in black and white and later had the film hand coloured frame by frame.

Sally Sally
Luna Maurer, Roel Wouters, Netherlands, 2005, 2 min, no dialogues
One big and about three dozen small marbles in a white, brightly lit room with a tile structure. They move from left to right, from front to back and suddenly begin to jump, to the wall on the right, to the ceiling and back down again. Are these marbles really just objects or eyes that can move beyond the rules of gravity? Are we looking up, or down, is this really a room at all and if so, where is it? (The film was part of the Grote Kunst voor Kleine Mensen project)

Virtuos Virtuell Virtuos Virtuell
Thomas Stellmach, Maja Oschmann, Germany, 2013, 8 min, no dialogues
An experimental animation film that does not tell a story in a classical sense but rather creates a movement of wet ink on a white background that seems to take up the dramatic arch of the overture we are hearing on the soundtrack. Their interplay stimulates us to see things, events, maybe even drama in what is basically just black shapes on a white surface. The film happens on the screen before us and is simultaneously created in our head.

Birdcalls Birdcalls
Malcolm Sutherland, Canada, 2006, 5 min, no dialogues
Can we write everything we hear down on a piece of paper? Or can we hear anything that is described in writing? A telephone answering machine is activated and all the messages it contains are played. But we do not hear family members talking about the Sunday dinner or an agitated neighbour complaining - instead we hear the sounds of twelve different birds and see a hand trying to find signs, symbols, letters to contain what has been uttered. As we move along, the symbols start do dance and start living a life of their own, dancing across the screen and becoming the language of far more than just the sounds of birds.

My Happy End My Happy End
Milen Vitanov, Germany, 2008, 5 min, no dialogues
What if a dog's tail was more than just a part of his body that it can wag? What if its tail became his best friend, someone it could share the bone it chews with, someone to play table tennis, someone to spend the whole day and whole night with? That could really, finally be a happy end and animation makes it possible. But every happy end has its dark spots and if your tail becomes a self-reliant character there is a chance that he also wants his own cat to chase!