welcome_home.exe

Basking in a theatres lights, a realm of dust particles dances in unison. One sprite suddenly gets the chance to be centre stage…

Nanna gets a visit from her Indian neighbor, Soggi. Nanna wants to chat but Soggi is somewhat in a gaseous state of mind.

While striving for the top digital messenger spot Flash makes a fatal error putting young love in jeopardy. Now he must risk everything he has worked for in order to make it right or save his reputation.

Wallace and Gromit have run out of cheese, and this provides an excellent excuse for the duo to take their holiday to the moon, where, as everyone knows, there is ample cheese. Preserved by the Academy Film Archive.

Wallace rents out Gromit's former bedroom to a penguin, who takes up an interest in the techno pants created by Wallace. However, Gromit later learns that the penguin is a wanted criminal. Preserved by the Academy Film Archive.

Wallace's whirlwind romance with the proprietor of the local wool shop puts his head in a spin, and Gromit is framed for sheep-rustling in a fiendish criminal plot.

After a long journey through the stars a space archaeologist and an outcast rabbi are about to find the lost and mythical Earth… or at least what's left of it.

Tom is wooing Toots; he presents her with a present - Jerry. But Toots would rather play mother to Jerry than eat him, much to Tom's annoyance.

Employing experimental techniques, Emshwiller magically moved through a collection of objects and artifacts in order to capture the spirit of George Dumpson and his backyard museum.

The film consists of three sequences shot by a fixed camera: the first shows the balcony of a hospital with patients (soundtrack from the film "Vivre sa vie" by Jean-Luc Godard), the second is a scraped wall and the third is a crossroad with pedestrians and cars (sound taken from the film "The Time-Machine " by George Pal).

Between the French La Nouvelle Vague and the Italian Neorealismo, Europe had been undergoing a continuous cinema transformation since the 1950s, while the ailing American studio system groaned under its own weight and inertia. New Hollywood had arrived with Bonnie and Clyde in 1967, and already by 1968 it was changing how Hollywood thought and acted. The student film scene was getting ready to explode, and it knew it.