As it hails from a series that has already gifted us oddities, rarities and debuts from the European elite of Godard, Nolan and Von Trier, it should come as no surprise that the third instalment of Cinema16 has once again dug out twinkling little films from the closets of A-list creatives. With many accompanied by yak-tracks from their gratifyingly proud fathers, this American collection is equally compelling.
Adam Parrish King's The Wraith Of Cobble Hill is a simply astonishing labour of starkly emotive urban claymation, whose teetering air of inevitability doesn't detract from the tragic gulp of its denouement. Think Wallace & Gromit meets Kids. Tim Burton's early stop motion Vincent doesn't embarrass his big screen triumphs to come, and Stefan Nadelman's affectionately savage, hyper-stylised boozer doc Terminal Bar is what all photo blogs should aspire to as we enter the splice-happy age of the iMovie.
Others are little more than endearingly pretentious vanity projects (Necrology by Standish Lawder and George Lucas' USC blip Freiheit), while a couple are pretty to gawp at without saying an awful lot about maker or subject (Gus Van Sant's Burroughs adaptation The Discipline Of D.E. and Todd Solondz's NYU project Feelings). The credibility of individual pieces, though, seems somehow secondary in importance to the orgasmic delight of completist altruism that brought this neatly-packaged series writhing and hollering into the world in the first place. More of these babies, please.