An attempt to combine Dadaist aesthetics and abstraction, the film presents the viewer with a disorientating collage of uncanny false eyeballs, distorted faces and abstract forms.
Not unlike Edgar Rubin’s vase, Hans Richter’s black-and-white short separates out something from nothing, his bi-stable optical illusion constantly shifting, moving freely from one association to the inevitable next. Consistent throughout is one recurring motif: the human eye.
Burkina Faso
Moldova
Palestinian Territories
Bosnia & Herzegovina
Paraguay
Zimbabwe
Bulgaria
Senegal
Lebanon
Zambia
Bolivia
Cambodia
Cameroon
Cuba
Mozambique
Serbia
Syria
Nepal
Guatemala
Dominican Republic
Congo - Kinshasa
Belarus
Sri Lanka
Hungary
Yemen
Greece
Czechia
Kenya
Tanzania
Ecuador
Uganda
Côte d’Ivoire
Sudan
Romania
Kazakhstan
Peru
Netherlands
Myanmar (Burma)
Uzbekistan
Iraq
Ethiopia
Algeria
Venezuela
Taiwan
Morocco
Ukraine
Colombia
Slovakia
Costa Rica
Oman
Kuwait
Liechtenstein
Luxembourg
Lithuania
Armenia
Estonia
Iceland
Cyprus
Afghanistan
Tunisia
Austria
Azerbaijan
United Arab Emirates
South Africa
Argentina
Nigeria
Bangladesh
Vietnam
Egypt
Saudi Arabia
Philippines
Pakistan
Iran
Jordan
Hong Kong SAR China
Israel
Portugal
Germany
Mexico
Japan
Russia
China
Indonesia
Singapore
Finland
Norway
Denmark
Sweden
Belgium
Italy
Thailand
Spain
India
South Korea
Turkey
New Zealand
Australia
Canada
Latvia
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Peter Tscherkassky, 1999, Austria
Peter Tscherkassky, 1999, Austria
Ben Rivers, 2011, United Kingdom
Heinz Emigholz, 2008, Austria
Eduardo Williams, 2013, France
Charlie Chaplin, 1916, United States
Serge Bard, 1968, France
Pere Portabella, 1969, Mexico
Jean Painlevé, 1930, France
Jonas Mekas, 1990, United States
