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A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching more
A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen. 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
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
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
On a winter's day, a woman stretches near a window then sits in a bathtub of water. She's happy. Her lover is nearby; there are close ups of her face, more
On a winter's day, a woman stretches near a window then sits in a bathtub of water. She's happy. Her lover is nearby; there are close ups of her face, her pregnant belly, and his hands caressing her. She gives birth: we see the crowning of the baby's head, then the birth itself; we watch a pair of hands tie off and cut the umbilical cord. With the help of the attending hands, the mother expels the placenta. The infant, a baby girl, nurses. We return from time to time to the bath scene. By the end, dad's excited; mother and daughter rest. close
A woman lies on the sand, left there by the tides and waves (and in a pose that would be copied in From Here to Eternity). She reaches up across tree more
A woman lies on the sand, left there by the tides and waves (and in a pose that would be copied in From Here to Eternity). She reaches up across tree roots and makes a difficult climb. Only to discover herself climbing horizontally along a long dinner table as bourgeoise black-tie guests chat and drink and smoke, oblivious to her. At the top of the table, a man is playing chess but abandons the game. Fascinated, she gazes at board, the pieces moving unaided. The woman chases a pawn as it falls to the floor. Falls down a waterfall. Is lost. 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
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch.
A silent film of collaged and painted sequences of lovemaking between Schneemann and her then partner, composer James Tenney; observed by the cat, Kitch. close
On a whim, a greedy tycoon decides to corner the world market in wheat. This doubles the price of bread, forcing grain producers into charity lines and more
On a whim, a greedy tycoon decides to corner the world market in wheat. This doubles the price of bread, forcing grain producers into charity lines and others further into poverty. The film contrasts the differences between the lives of those who work to grow the wheat and the life of the man who dabbles in its sale for profit. 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
The Laurel & Hardy Moving Co. have a challenging job on their hands (and backs): hauling a player piano up a monumental flight of stairs to Prof. von more
The Laurel & Hardy Moving Co. have a challenging job on their hands (and backs): hauling a player piano up a monumental flight of stairs to Prof. von Schwarzenhoffen's house. Their task is complicated by a sassy nursemaid and, unbeknownst to them, the impatient Prof. von Schwarzenhoffen himself. But the biggest problem is the force of gravity, which repeatedly pulls the piano back down to the bottom of the stairs. 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
The 1945 atomic-bomb explosion at Bikini Atoll becomes a thing of terrible beauty and haunting visual poetry when shown in extreme slow motion, shown more
The 1945 atomic-bomb explosion at Bikini Atoll becomes a thing of terrible beauty and haunting visual poetry when shown in extreme slow motion, shown from 27 different angles, and accompanied by avant-garde Western classical music composed for electric organ by Terry Riley. close
A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised more
A reflection on Jafa's desire to craft a "black cinema" that is responsive to the "existential, political, and spiritual dimensions" of Black life. Comprised of found footage sampled from films, newscasts, sporting events, music videos, and citizen videos, all of it downloaded from the Internet, the clips have been woven together and set to Kanye West's anthem "Ultralight Beam." Together the images and music make for an intense, poignant meditation on African American life in the twentieth-century. This history is also the history, by necessity, of racism and prejudice. close
Little Stabs at Happiness is a collection of silent shorts Jacobs shot from the period of 1959-1963. Jaunty tunes (and a somber reflection) accompany the footage.
Little Stabs at Happiness is a collection of silent shorts Jacobs shot from the period of 1959-1963. Jaunty tunes (and a somber reflection) accompany the footage. close
Madeline Anderson’s documentary brings viewers to the front lines of the civil rights movement during the 1969 Charleston hospital workers’ strike, when more
Madeline Anderson’s documentary brings viewers to the front lines of the civil rights movement during the 1969 Charleston hospital workers’ strike, when 400 poorly paid Black women went on strike to demand union recognition and a wage increase, only to find themselves in confrontation with the National Guard and the state government. Anderson personally participated in the strike, along with such notable figures as Coretta Scott King, Ralph Abernathy and Andrew Young, all affiliated with Martin Luther King’s Southern Christian Leadership Conference. Anderson’s film shows the courage and resiliency of the strikers and the support they received from the local black community. It is an essential filmed record of this important moment in the history of civil and women’s rights. The film is also notable as arguably the first televised documentary on civil rights directed by a woman of color, solidifying its place in American film history. close
Buster Keaton gets involved in a series of misunderstandings involving a horse and cart. Eventually he infuriates every cop in the city when he accidentally interrupts a police parade.
Buster Keaton gets involved in a series of misunderstandings involving a horse and cart. Eventually he infuriates every cop in the city when he accidentally interrupts a police parade. close
GENTLY DOWN THE STREAM is constructed from fourteen dreams taken from eight years' worth of my journals. The text is scratched directly on to the film more
GENTLY DOWN THE STREAM is constructed from fourteen dreams taken from eight years' worth of my journals. The text is scratched directly on to the film so that you hear your own voice as you read. The accompanying images of women, water, animals and saints were chosen for their indirect but potent correspondence to the text. close
Occult magicians who gather gods and idols around them perform rituals calling them. Appeared deities of various dark beliefs from all pagan religions more
Occult magicians who gather gods and idols around them perform rituals calling them. Appeared deities of various dark beliefs from all pagan religions perform actions designed to curse the souls worshipping them. Among those who came to the ceremony are Olympic deities, representatives of the celestial Indian pantheon, ancient Lilith (Renata Druks), Cesare somnambula (Curtis Harrington). All these characters gathered in the wild Dionysian fun and take various alcoholic, narcotic and other harmful substances.
Kenneth Anger’s short film “The Grand Opening of the Temple of Pleasure” is one of the first psychedelic experiments in cinema, mixed with the director’s passion for the occult sciences and experiments in drug use. close
A 16mm Warhol film of Edie Sedgwick sitting in front of a television monitor on which is playing a prerecorded videotape of herself. On the videotape, more
A 16mm Warhol film of Edie Sedgwick sitting in front of a television monitor on which is playing a prerecorded videotape of herself. On the videotape, Edie is positioned on the left side of the frame, facing right; she is talking to an unseen person off-screen to our right. In the film, the “real” or “live” Edie Sedgwick is seated on the right side of the film frame, with her video image behind her, and she is talking to an unseen person off-screen to our left. The effect of this setup is that it sometimes creates the rather strange illusion that we are watching Edie in conversation with her own video image. close