Blasting off into cosmic visual abstraction, pioneering computer artist Lillian Schwartz’s UFOs is a kinetic tour-de-force whose innovative pixel pigmentation showcased advanced stereoscopic technology as art.
The Care Bears team up with a troubled brother and sister who just moved to a new town to help a neglected young magician's apprentice whose evil spell book causes sinister things to happen.
The Colours of My Father: A Portrait of Sam Borenstein is a 1992 short animated documentary directed by Joyce Borenstein about her father, the Canadian painter Sam Borenstein.
Renaud is 85 years old and lives in Paris with his trusty wheelchair/caregiver. He's a loner, stuck in his ways, uncomplainingly trapped for years now on the top floor of a building in Montmartre.
A boy looking for his cat to the edge of time, where who's dead disappears and who's alive let fly. Childhood illusions dissolve on the wheat field and make landscape.
The disappearance of her sock at a local laundromat sends a fragile Rita over the edge. Hellbent on finding it, she searches deep and gets sucked into a washing machine, entering an otherworldly cycle from which she may never escape.
Manual Man follows a progression of men whose bodies transform into furniture and appliances after reading various instruction manuals.
Alternative movies trailers for UFOs
More movie trailers, teasers, and clips from UFOs:
Ufos zerstören die Erde (1962) - German Trailer
Deutscher Trailer zum SciFi-Klassiker von 1962. Weltuntergangsvision: Ein Meteor rast auf die Erde zu - die Menschheit gerät in Panik. Es gibt nur einen ...
Popular movie trailers from 1971
These some of the most viewed trailers for movies released in 1971:
A wealthy Englishman finds his third wife dead. After the police discover that his first two wives had also died suddenly, an investigation is launched.
A neurosurgeon with a cheating wife takes an amnesiac into his home and conditions him to believe that the cheating wife is his own and to take the "appropriate" action.
This period compilation of documentaries shot with a Portapak camera from the early era of video experimentation offers an immediate view of the independent New York art scene (concerts and theater perfomances on the streets and in the clubs of downtown).
The film tells the story of Murat's struggle to rescue his brother Yusuf from a drug gang. Murat is left disabled while trying to save the lives of workers in an accident at his factory.