Love

The Hunter tracks down a beast.

It ain't easy bein' green - especially if you're a likable (albeit smelly) ogre named Shrek. On a mission to retrieve a gorgeous princess from the clutches of a fire-breathing dragon, Shrek teams up with an unlikely compatriot - a wisecracking donkey.

Princess Jasmine grows tired of being forced to remain in the palace, so she sneaks out into the marketplace, in disguise, where she meets street urchin Aladdin. The couple falls in love, although Jasmine may only marry a prince. After being thrown in jail, Aladdin becomes embroiled in a plot to find a mysterious lamp, with which the evil Jafar hopes to rule the land.

Hungry mosquitos, in search of a meal, find that fruit, flowers and other such fare doesn't satisfy. One enterprising bug hits the jackpot - a human! However, the victim vigorously resists joining the food chain, causing a number of winged casualties. The little buggers wait until the man falls asleep, then set up a number of enterprises: cafes, bars, filling stations, all serving blood. Things are going well, but then the mosquito Cosa Nostra moves in, and ramp production into high gear.

An illusion of 3 dimensions is achieved by a blending of mathematics and physics to carry the spectator through a new range of audio and visual dynamics.

This film is strongly rooted in its underlying mathematical structure which forms the basis for the images. The music by Jean Claude Risset is integral to the creation of this concert of space and time.

A single bird in flight is transformed, enhanced and interpreted so as to present a unique visual experience. From its original inception in a 128 frame black-and-white sequence it evolves by programmed reflection, inversion, magnification, color transformation and time distortion into the final restructured film as art.

Abstract images of frame-by-frame animation with subtle growing effects of crystals are enhanced by polarized colors.

Picture-processed photos from the artist-filmmaker’s family. Faces are abstracted in a divisionistic manner.

Music “Canzoni per sonar a quattro” by Giovanni Gabrieli, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz. Images generated by computer.

Computer generated images used as counterpoint to music “Fantasia & In Nomine” by John Ward, performed by Elizabeth Cohen, Max Mathews, and Gerard Schwarz.