Lowrated short movies of 60-th - very rare category. We know total 34 this movies.
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The Killers is a 1956 student film by the Soviet and Russian film director Andrei Tarkovsky and his fellow students Marika Beiku and Aleksandr Gordon. more
The Killers is a 1956 student film by the Soviet and Russian film director Andrei Tarkovsky and his fellow students Marika Beiku and Aleksandr Gordon. The film is based on the short story "The Killers" by Ernest Hemingway, written in 1927. It was Tarkovsky's first film, produced when he was a student at the State Institute of Cinematography. close
A man walks down the exterior staircase of building of flats; he's dressed to go out, taking care to wrap a scarf around his neck. He pauses as he passes more
A man walks down the exterior staircase of building of flats; he's dressed to go out, taking care to wrap a scarf around his neck. He pauses as he passes a small window that's about eye high. He ventures to look in, and there a young woman stands at a washbasin, drying her hair, close
In waning winter light, a doll maker works in his shop, a kerosene lamp beside him, a jumble of dolls and doll parts, whole and broken, surrounding him. more
In waning winter light, a doll maker works in his shop, a kerosene lamp beside him, a jumble of dolls and doll parts, whole and broken, surrounding him. There are noises, too: a cuckoo clock chirps the workday's end. The artisan completes a repair and leaves, shuttering the shop from outside. Back inside, whispering begins. What else is in store for the shop's seemingly lifeless denizens? close
Youths get ready for a party, decorating the dance floor, cleaning out the fountain of a pond. That evening, the party starts and guests arrive: everyone more
Youths get ready for a party, decorating the dance floor, cleaning out the fountain of a pond. That evening, the party starts and guests arrive: everyone has a ticket, and a guy at the gate, wearing a formal shirt, tails, and shorts, makes sure only those with tickets gain entrance. close
"Waiting for Godot" on ice and snow, without words. Against a barren winter landscape, a figure approaches: it's a man, pulling a small sleigh on which more
"Waiting for Godot" on ice and snow, without words. Against a barren winter landscape, a figure approaches: it's a man, pulling a small sleigh on which another man sits, plucking a dead bird. They stop to trade places; the one now on the sleigh takes out his knitting. Accidents, misunderstandings, disagreements, and an outright fight await our absurd protagonists as their trip to nowhere continues, first with one pulling, then the other. What if they were to lose the sleigh? What rules of civilization and partnership would guide them then? close
A writer named Algernon (but called Harry by his friends) buys a picture of a boat on a lake, and his obsession with it renders normal life impossible.
A writer named Algernon (but called Harry by his friends) buys a picture of a boat on a lake, and his obsession with it renders normal life impossible. close
A teenage boy plays truant from school, and spends the day riding around the town and the deserted beach on his bicycle, letting his mind wander as he more
A teenage boy plays truant from school, and spends the day riding around the town and the deserted beach on his bicycle, letting his mind wander as he imagines he is the only person in the world... close
A sweet romance unfolds between two young factory workers who meet on a train and set out to discover their city together before the young woman must return to her flat.
A sweet romance unfolds between two young factory workers who meet on a train and set out to discover their city together before the young woman must return to her flat. close
Basically, 'Herakles' is an omnium-gatherum of film clips depicting images of machismo. Some of those images are explicitly macho: we see various body-builders more
Basically, 'Herakles' is an omnium-gatherum of film clips depicting images of machismo. Some of those images are explicitly macho: we see various body-builders flexing their biceps and triceps. Other images seen here are not macho in the literal sense, but are indirectly related to testosterone or cojones on some level: we see military aircraft making bombing raids, and footage of car crashes. close
Now middle-aged, mobster Murray looks back at his humble beginnings as a bootlegger and his rise to becoming wealthy and highly influential. Through it more
Now middle-aged, mobster Murray looks back at his humble beginnings as a bootlegger and his rise to becoming wealthy and highly influential. Through it he talks about how much of his success and happiness is due to the support of his "friend" Joe. Unfortunately the only one who blindly believes Joe is anything close to a friend is Murray, because it's obvious to everyone that Joe back-stabs him at every chance and is sleeping with his wife. 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
Look at Life is a short student film by George Lucas, produced for a course in animation while Lucas was a film student at USC Film School. The film's more
Look at Life is a short student film by George Lucas, produced for a course in animation while Lucas was a film student at USC Film School. The film's running time of exactly one minute was required by the course. This was the first film made by George Lucas and was heavily influenced by Canadian filmmaker Arthur Lipsett. close
Two young people, Walter and Charlotte, are walking through a small village in Switzerland a snowy winter day. Walter introduces Charlotte to Clara, hoping more
Two young people, Walter and Charlotte, are walking through a small village in Switzerland a snowy winter day. Walter introduces Charlotte to Clara, hoping to make Charlotte jealous. After saying good-bye to Clara, Walter accompanies Charlotte into her house, although she doesn't want him to. Charlotte is hungry and cooks a steak. She asks Walter if he wants a piece of it. He says no, but she gives him a small piece anyway. He wants a kiss, and she says no. She starts to compare herself with Clara, who Walter agrees is more beautiful. In spite of this, Walter says he likes Charlotte much more, but she thinks he is lying. She notices that he is cold and shivering. She hugs him, he kisses her, and she starts kissing him. After leaving the house he accompanies her to the train. close
Just before the arrival of the commission, Dyrokol, the head of the 1st branch of the state farm Zarya, found in his farm a half-depleted cowboy and ordered more
Just before the arrival of the commission, Dyrokol, the head of the 1st branch of the state farm Zarya, found in his farm a half-depleted cowboy and ordered to immediately send her to the meat plant. But there is a skinny cow (not taken). And then the Hole threw it to his neighbor Koleno in the 3rd branch. While the Hole and the knee, quarreled, tried to get rid of the poor cattle, it picked up the milkmaid Lucia Prokopenko ... close
Dancers, shown in photographic negative, perform a series of ballet moves, solos, pas de deux, larger groupings. The dancers glide and rotate untroubled more
Dancers, shown in photographic negative, perform a series of ballet moves, solos, pas de deux, larger groupings. The dancers glide and rotate untroubled by gravity against a slowly changing starfield background. Their movements are accompanied by music scored for a small ensemble of woodwind and percussion. close
Herr Sleeman kommer (Mr. Sleeman Is Coming) is a 1917 one-act play by the Swedish author Hjalmar Bergman. The main character is an orphaned young woman more
Herr Sleeman kommer (Mr. Sleeman Is Coming) is a 1917 one-act play by the Swedish author Hjalmar Bergman. The main character is an orphaned young woman who is about to be married off to an unappealing but rich old man, Mr. Sleeman, at the instigation of her aunts who have taken charge of her. Bergman infuses the situation with overtones of rueful pessimism concerning life in general. close
A creation myth realized in light, patterns, images superimposed, rapid cutting, and silence. A black screen, then streaks of light, then an explosion more
A creation myth realized in light, patterns, images superimposed, rapid cutting, and silence. A black screen, then streaks of light, then an explosion of color and squiggles and happenstance. Next, images of small circles emerge then of the Sun. Images of our Earth appear, woods, a part of a body, a nude woman perhaps giving birth. Imagery evokes movement across time. Part of the Dog Star Man series of experimental films. close
Arthur Lipsett's first film is an avant-garde blend of photography and sound. It looks behind the business-as-usual face we put on life and shows anxieties more
Arthur Lipsett's first film is an avant-garde blend of photography and sound. It looks behind the business-as-usual face we put on life and shows anxieties we want to forget. It is made of dozens of pictures that seem familiar, with fragments of speech heard in passing and, between times, a voice saying, "Very nice, very nice." The film was nominated for an Oscar for Best Live Action Short Film. close
A man is supine on a mountain side. Images rush past of nature and a stained glass saint. An infant is born. We see a lactating nipple. Images include more
A man is supine on a mountain side. Images rush past of nature and a stained glass saint. An infant is born. We see a lactating nipple. Images include a mountain peak, farm buildings, a tree stump, a fire, a crawling baby, and the sun. The man falls and rolls. Then, later, he swings his ax. close
A man, accompanied by a dog, struggles through snow on a mountain side. We see film stock blister; drawn square shapes appear. Then, we see an infant's more
A man, accompanied by a dog, struggles through snow on a mountain side. We see film stock blister; drawn square shapes appear. Then, we see an infant's face. The images of struggling climber, baby, blurred film stock, large snow flakes, and what may be microscopic details of matter are superimposed on each other, one dominating the frame briefly to be replaced by another. As the man falls in the snow and tries to regain his feet, the baby continues to appear, first with eyes closed. Alternately, images rush by - montages of paper cutouts and life under a microscope. close
Sexual intimacy. Three kinds of images race past, superimposed on each other sometimes: two bodies, a man and a woman's, close up, nude - patches of skin, more
Sexual intimacy. Three kinds of images race past, superimposed on each other sometimes: two bodies, a man and a woman's, close up, nude - patches of skin, wisps of hair, glimpses of a face and genitalia; strips of celluloid with lines and squiggles scratched on them; and, close-up shots of what appear to be the insides of living bodies - a heart beating, muscle and sinew and tissue wet with fluids. The exterior and interior of desire. close
From a murky landscape, a wooded mountain emerges. We watch the sun. We see a bearded man climbing up the mountain through the snow. He carries an ax, more
From a murky landscape, a wooded mountain emerges. We watch the sun. We see a bearded man climbing up the mountain through the snow. He carries an ax, and he's accompanied by a dog. His labors continue. There is no soundtrack. Images rush past - water, trees, and surfaces too close up to distinguish. He struggles. A fire burns. Nature, in long shots and magnified, is formidable and silent. It's tough going; he carries on. In a capillary, blood flows. close
An experimental film, the last in Peter Kubelka's trilogy of “metric films”. Each frame of Arnulf Rainer is composed of darkness or light and silence or sound.
An experimental film, the last in Peter Kubelka's trilogy of “metric films”. Each frame of Arnulf Rainer is composed of darkness or light and silence or sound. close