You want to choose light short films and series - rating leaders from the selection "greatest movie candidates" from this list, which you'll really like?
Tell us a little about yourself or rate some films.
Light short films and series - Rating leaders from the selection "Greatest Movie Candidates" - choose and watch online
Light short movies from the selection "Greatest Movie Candidates" - quite popular category. We know 415 this movies.
Including such famous ones as
"Un chien andalou", 1929
"A Trip to Mars", 1902
"The Arrival of a Train", 1895
and etc.
These are the most popular ones but just because a lot of people have watched them doesn't mean you should watch them.
To choose movies,
which you won't be disappointed,
fill out a short form
and/or rate several films,
and filmAdviser will pick you up
light short movies from the selection "greatest movie candidates"
according to your taste
among those
415 ,
which we know.
We will not only help you choose movie,
but we’ll also tell you where it is watch in good quality
Professor Barbenfouillis and five of his colleagues from the Academy of Astronomy travel to the Moon aboard a rocket propelled by a giant cannon. Once more
Professor Barbenfouillis and five of his colleagues from the Academy of Astronomy travel to the Moon aboard a rocket propelled by a giant cannon. Once on the lunar surface, the bold explorers face the many perils hidden in the caves of the mysterious planet. close
Two prisoners in complete isolation, separated by the thick brick walls, and desperately in need of human contact, devise a most unusual kind of communication.
Two prisoners in complete isolation, separated by the thick brick walls, and desperately in need of human contact, devise a most unusual kind of communication. close
Cornell employs clips from 1931's jungle melodrama East of Borneo – more specifically, clips of its lead actress, Rose Hobart – to disquieting effect. more
Cornell employs clips from 1931's jungle melodrama East of Borneo – more specifically, clips of its lead actress, Rose Hobart – to disquieting effect. Through Cornell's collage editing, Hobart becomes a singular object of desire and dread, trapped in an exotic paradise. close
The last collaboration of Artavazd Peleshian and cinematographer Mikhail Vartanov is a film-essay about Armenia's shepherds, about the contradiction and more
The last collaboration of Artavazd Peleshian and cinematographer Mikhail Vartanov is a film-essay about Armenia's shepherds, about the contradiction and the harmony between man and nature, scored to Vivaldi's Four Seasons. close
Simon, a deeply religious man living in the 4th century, wants to be nearer to God so he climbs a column. The Devil wants him come down to Earth and is trying to seduce him.
Simon, a deeply religious man living in the 4th century, wants to be nearer to God so he climbs a column. The Devil wants him come down to Earth and is trying to seduce him. close
Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns more
Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film. close
A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, more
A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered. Found footage from Hollywood forms the basis for the film. The figure who creeps through the images, who is thrown around by them and who attacks them is Barbara Hershey. Tscherkassky's dramatic frame by frame re-cycling, re-copying and new exposure of the material, folds the images and the rooms into each other. It removes the ground from under the viewer's feet and splits faces, like in a bad dream. From the off, from outer space, foreign bodies penetrate the images and cause the montage to become panic stricken. The outer edges of the film image, the empty perforations and the skeletons of the optical sound track rehearse an invasion... close
The 'Ga' of the title refers to the film maker's mother. The film gathers together this elderly lady's everyday actions to offer an abstract insight into more
The 'Ga' of the title refers to the film maker's mother. The film gathers together this elderly lady's everyday actions to offer an abstract insight into her life. Margaret Tait described this film as follows: 'My mother seemed a good subject for a portrait, (she was there), and I thought it offered a chance to do a sort of 'abstract film', in the sense that it didn't have what you might call 'the grammar of film'. It's mostly discontinuous shots linked just by subject, in one case by colour, only rarely by movement'. close
The film is made up of one single take. The camera pans to the left, focusing on a dilapidated fence in a rural field, as Ella Fitzgerald's "All My Life" more
The film is made up of one single take. The camera pans to the left, focusing on a dilapidated fence in a rural field, as Ella Fitzgerald's "All My Life" plays on the soundtrack. At the end of the 3 minute film, the camera tilts up to the blue sky just as the song ends. close
The subject of the film was the Hauka movement. The Hauka movement consisted of mimicry and dancing to become possessed by French Colonial administrators. more
The subject of the film was the Hauka movement. The Hauka movement consisted of mimicry and dancing to become possessed by French Colonial administrators. The participants performed the same elaborate military ceremonies of their colonial occupiers, but in more of a trance than true recreation. close
An early example of ultra-realism, this movie contrasts the quiet, bucolic life in the outskirts of Paris with the harsh, gory conditions inside the nearby more
An early example of ultra-realism, this movie contrasts the quiet, bucolic life in the outskirts of Paris with the harsh, gory conditions inside the nearby slaughterhouses. Describes the fate of the animals and that of the workers in graphic detail. close
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first more
Working men and women leave through the main gate of the Lumière factory in Lyon, France. Filmed on 22 March 1895, it is often referred to as the first real motion picture ever made, although Louis Le Prince's 1888 Roundhay Garden Scene pre-dated it by seven years. Three separate versions of this film exist, which differ from one another in numerous ways. The first version features a carriage drawn by one horse, while in the second version the carriage is drawn by two horses, and there is no carriage at all in the third version. The clothing style is also different between the three versions, demonstrating the different seasons in which each was filmed. This film was made in the 35 mm format with an aspect ratio of 1.33:1, and at a speed of 16 frames per second. At that rate, the 17 meters of film length provided a duration of 46 seconds, holding a total of 800 frames. close
The story involves two newlyweds, Keaton and Seely, who receive a build-it-yourself house as a wedding gift. The house can be built, supposedly, in "one more
The story involves two newlyweds, Keaton and Seely, who receive a build-it-yourself house as a wedding gift. The house can be built, supposedly, in "one week." A rejected suitor secretly re-numbers packing crates. The movie recounts Keaton's struggle to assemble the house according to this new "arrangement." close
Originally commissioned by an Austrian couple in 1961 to photograph a travel diary documenting their wild game hunt, Kubelka shot three hours of film more
Originally commissioned by an Austrian couple in 1961 to photograph a travel diary documenting their wild game hunt, Kubelka shot three hours of film and recorded fourteen hours of audio. Over the next few years, Kubelka toiled in the editing bay, producing a work charged with intricate, ironic brutality. close
Likely in June 1897, a group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at more
Likely in June 1897, a group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe. close
An isolated house is too remote for a lone servant, who leaves a note, quietly exits the back door, and puts the key under the mat. Left alone in the more
An isolated house is too remote for a lone servant, who leaves a note, quietly exits the back door, and puts the key under the mat. Left alone in the house is a mother and her infant. A tramp has watched the servant leave and begins to skulk. When the lady of the house sees him outside as he discovers the key, she's terrified and desperately phones her husband, who's at work in town. He jumps into a car that's idling in front of his office and races toward home, the car's owner, and police, in hot pursuit. close
In which the off-screen voice of Michael Snow narrates a series of Frampton's photographs (speaking as Frampton, in the first person)—as each picture catches fire on a hot plate.
In which the off-screen voice of Michael Snow narrates a series of Frampton's photographs (speaking as Frampton, in the first person)—as each picture catches fire on a hot plate. close
At Stamford Road in Dalston Junction of east London, the camera follows pedestrians, cars and birds while a narrator, who appears to be the director behind more
At Stamford Road in Dalston Junction of east London, the camera follows pedestrians, cars and birds while a narrator, who appears to be the director behind the camera, seems to instruct the objects. close
A complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, Reassemblage reflects on documentary more
A complex visual study of the women of rural Senegal. Through a complicity of interaction between film and spectator, Reassemblage reflects on documentary filmmaking and the ethnographic representation of cultures. close
This film memorializes the leader of Vietnam, Ho Chi Minh, on the occasion of his death. It narrates the story of a life which is also the story of a more
This film memorializes the leader of Vietnam, Ho Chi Minh, on the occasion of his death. It narrates the story of a life which is also the story of a nation-recounting his important accomplishments in the struggle against colonialism and imperialism. close
Stop-motion photography blends with extreme slow-motion in Clair's first and most 'dada' film, composed of a series of zany, interconnected scenes. We more
Stop-motion photography blends with extreme slow-motion in Clair's first and most 'dada' film, composed of a series of zany, interconnected scenes. We witness a rooftop chess match between Marcel Duchamp and Man Ray, a hearse pulled by a camel (and chased by its pallbearers) and a dizzying roller coaster finale. A film of contradictions and agreements. close