• Directors: Dony Permedi
  • Producers: Dony Permedi
  • Writers:
  • Genres: Animation, Short, Action, Adventure, Comedy, Drama, Thriller
  • Actors:

The video itself centres around a kiwi bird who is mysteriously seen to be nailing an array of trees to the side of a sheer cliff, with considerable effort(!), so that they stick out horizontally. Finally done, he then dons an aviator’s cap and jumps off, diving down the cliff head first. The camera then turns sideways and all is revealed – he so longs to be able to fly that, to make it seem like he really is zooming above a forest, he has built the whole thing for a brief ‘flight’. A tear wells from his be-goggled eye as he achieves his dream. He then disappears into the fog below and, at the very end, a thump is heard and we know he died blissfully happy.

Yozhik v tumane

  • Directors: Yuriy Norshteyn
  • Producers: Soyuzmultfilm
  • Writers: Sergei Kozlov
  • Genres: Animation, Short, Drama, Family, Fantasy, Mystery
  • Actors: Alexei Batalov, Maria Vinogradova, Vyacheslav Nevinniy

The main theme of the cartoon is the concept of Enlightenment and release from the yellow mist of civilization. [sic] This is a story about a little hedgehog (voiced by Mariya Vinogradova) and his friend bear cub (voiced by Vyacheslav Nevinniy). The two would meet every evening to drink tea from the cub’s samovar, which was heated on a fire of juniper twigs. As they drank their tea, the hedgehog and the bear conversed and counted the stars together. One day, the hedgehog decided to bring raspberry jam. As he went to the bear to count the stars, he passed through the woods and found a horse standing in a fog, where the hedgehog can’t even see his own pink paw. He is curious as to whether the horse would drown if it went to sleep in the fog. The hedgehog decides to explore the fog.

He finds himself in a strange world inhabited by many frightening creatures (eagle-owl, moths and bat) but also helpful and kind ones (the snail, the dog and the ‘somebody’ under water); that world of silence and rustles, of darkness, high grass and enchanting stars. The hedgehog hears the sound of the owl, which he called freak (Russian: псих). He is so frightened that it seems to him that the owl is very close. He is frightened, but his curiosity keeps him exploring the unknown. The characters Hedgehog and Bear Cub are very kind and friendly. In contrast, the eagle-owl is very hostile, being on the hunt and not taking care of the beauty of the surrounding world.

The hedgehog’s nightly walk through the woods to count the stars, drink tea and eat jam with his friend is such a habit he’s not even aware of the dangerous owl stalking him. Instead of paying attention, he thinks of the conversation he will have with his friend. He comes upon a beautiful horse standing in the fog. The sight stops his internal dialog and awakens his sense of wonder. His curiosity about what it might be like to experience a different reality leads him into the fog. He becomes a little afraid in this strange place and calls to the horse, but the horse does not answer him. He examines a oak leaf and a tree as though he has never seen them before. Realizing he has lost his jar of jam, a symbol of comfort and the familiar, his curiosity turns to fear, heightening his sense of danger to the point of being afraid of an obviously friendly dog who, miraculously, restores to him his jam. But someone called the dog with the whistle similar to the Beethoven’s V symphony. All the while, faintly in the distance, we hear his friend calling for him. Still frightened, even with his jam, the hedgehog runs blindly through the fog and falls into the river. After a short struggle, he relaxes, literally “goes with the flow”, accepts his fate and eventual death without fear. The horse watches him float by and does not attempt to help him. Suddenly, an unseen Someone touched his hind paw and asks, “Who are you and how did you get here?”, questions humans (and hedgehogs) have asked themselves for thousands of years. He answers truthfully and simply and his life is saved. He makes his way back to his ordinary world, a changed being. His friend talks and talks, but the hedgehog sit quiet on the right side, joyful at just being together with him again. He thinks of the horse, the symbol of the impersonal wonder, mystery and beauty of existence. This is a story of how to live fully; by being in the “now” and being aware of the world and ourselves as we truly are. “Here is the world. Beautiful and terrible things will happen. Don’t be afraid.” ~ Frederick Buechner


  • Directors: Doug Sweetland
  • Producers: Richard Hollander 1
  • Writers: Doug Sweetland
  • Genres: Animation, Short, Comedy, Fantasy
  • Actors: Doug Sweetland

Turn-of-the-century magician Presto DiGiotagione[a] is famous for a hat trick wherein he pulls his rabbit Alec Azam[b] out of his top hat. The short begins with a unfed and unhappy Alec locked in a cage, out of reach of a carrot.[4] After Presto returns from eating a meal, he begins practicing his act with Alec, revealing that the top hat is magically connected to a wizard’s hat kept backstage with Alec, in a similar approach the video game Portal, so that when Presto reaches into the top hat, his hand appears out of the wizard’s hat, allowing him to grab Alec and pull him out of the top hat. He intends to feed Alec the carrot, but realizes that he is late for the show and rushes off to the stage without doing so. Presto tries to start the performance, but Alec refuses to cooperate until he is given the carrot. Presto then spends the rest of the show trying to catch Alec through the opening between his top hat and the wizard’s hat. Alec cleverly turns the hat’s magic against his master in painful and humiliating ways, such as putting the magician’s finger in a mouse trap and later into an electrical socket, causing him to dance wildly, and having his head sucked into a vacuum kept offstage. The audience interprets this as a part of the act and applauds wildly. Eventually, Presto’s foot is caught on a rope that lifts him up to the top of the stage. When his foot comes loose from the rope, he falls from the ceiling, along with a piano and some scenery. Alec, realizing that Presto will be crushed, uses the magic hat to save him, much to his frustration, earning the audience’s wild approval for both himself and Presto. Presto gives Alec the carrot (and many more), as well as second billing on the posters advertising the show.

The Musketeers of Pig Alley

  • Directors: D W Griffith
  • Producers:
  • Writers: D W Griffith, Anita Loos
  • Genres: Short, Crime, Drama
  • Actors: Elmer Booth, Lillian Gish, Clara T Bracy, Walter Miller

The film is about a poor married couple living in New York City. The husband works as a musician and must travel often for work. During one of his away trips, he is robbed by a gangster. Later, he gets caught up in a shootout and recognizes one of the men as the gangster who took his money. Now he wants it back.

Easy Street

  • Directors: Charles Chaplin, Edward Brewer
  • Producers: Henry P Caulfield
  • Writers: Charles Chaplin, Vincent Bryan, Maverick Terrell
  • Genres: Short, Comedy
  • Actors: Charles Chaplin, Edna Purviance, Eric Campbell

As the story begins, the Little Tramp is sleeping rough outside a mission near the streets of a lawless slum. He is reformed somewhat at a Mission where there is singing and religious education. His religious awakening inspired by a beautiful young woman who pleads for him to stay at the Mission.

Spotting a help wanted ad for a job at the police station, Chaplin hesitantly accepts and is assigned the rough-and-tumble Easy Street as his beat. Upon entering the street, he finds a bully, roughing up the locals and pilfering their money. Chaplin gets on the wrong side of this bully and following a chase the two eventually come to blows, culminating in Chaplin inventively using a gas lamp, to render the bully unconscious. The film continues with Chaplin aiding the people of Easy Street, rescuing a damsel in distress from the clutches of a sinister drug addict and putting the bully in his place once and for all.


  • Directors: J Searle Dawley
  • Producers:
  • Writers: J Searle Dawley
  • Genres: Short, Horror, Sci-Fi
  • Actors: Augustus Phillips, Charles Ogle, Mary Fuller

From The Edison Kinetogram:

Frankenstein, a young student, is seen bidding his sweetheart and father goodbye, as he is leaving home to enter a college in order to study the sciences. Shortly after his arrival at college he becomes absorbed in the mysteries of life and death to the extent of forgetting practically everything else.

His great ambition is to create a human being, and finally one night his dream is realized. He is convinced that he has found a way to create a most perfect human being that the world has ever seen. We see his experiment commence and the development of it. The formation of the hideous monster from the blazing chemicals of a huge cauldron in Frankenstein’s laboratory is probably the most weird, mystifying and fascinating scene ever shown on a film. To Frankenstein’s horror, instead of creating a marvel of physical beauty and grace, there is unfolded before his eyes and before the audience an awful, ghastly, abhorrent monster. As he realizes what he has done Frankenstein rushes from the room, only to have the misshapen monster peer at him through the curtains of his bed. He falls fainting to the floor, where he is found by his servant, who revives him.

Here comes the point which we have endeavored to bring out, namely: That when Frankenstein’s love for his bride shall have attained full strength and freedom from impurity it will have such an effect upon his mind that the monster cannot exist. This theory is clearly demonstrated in the next and closing scene, which has probably never been surpassed in anything shown on the moving picture screen. The monster, broken down by his unsuccessful attempts to be with his creator, enters the room, stands before a large mirror and holds out his arms entreatingly. Gradually, the real monster fades away, leaving only the image in the mirror. A moment later Frankenstein himself enters. As he stands directly before the mirror we are amazed to see the image of the monster reflected instead of Frankenstein’s own. Gradually, however, under the effect of love and his better nature, the monster’s image fades and Frankenstein sees himself in his young manhood in the mirror. His bride joins him, and the film ends with their embrace, Frankenstein’s mind now being relieved of the awful horror and weight it has been laboring under for so long.