The annual Eyeworks Festival—like many of the animations presented—tends to be brief, focused, and dazzling; this year it transpires on a single day, with two shorts programs and an evening screening of Harry Smith’s Heaven and Earth Magic (1961). Many of the shorts available for preview are visualizations of music, ranging from Jenni Rope’s Tiikerimuuri (2:30 PM), traditional stop-motion work in the Sesame Street vein, with brightly painted blocks sliding around before a colorful backdrop, to Jake Fried’s Down Into Nothing (5 PM), a maniacally detailed landscape—hand-drawn on black paper with ink, gouache, white correction fluid, and coffee—that mutates frantically for the full one-minute running time. There’s at least one choice narrative piece: Anu-Laura Tuttelberg’s Fly Mill, a doll animation in which hunters shoot houseflies out of the sky, and a miller grinds them down to a fine powder and bakes them into bread for his ducklings. Reviewing Heaven and Earth Magic (7:30 PM), Fred Camper wrote, “In his notes Smith recorded the drugs he used while working, yet his style is incredibly controlled. The hour-long, black-and-white [film], made in the 50s, uses cutout animation to produce a mysterious world of alchemical transformations in which objects suggest a multitude of possibilities.”