

OffOn
Synopsis
The human eye, the human form, the human face: these are the three central images of this avant-garde collage and kaleidoscope of shifting and fractured images, changing colors, and pulsing rhythms. Near the end, a tree appears briefly, and birds fly - first white, then red and blue. Celtic knots morph from one to another. The images become Rorschach tests although the mood, driven by the rapid changing images and the soundtrack, remains frantic.
Release History & Theatrical Window
Yale Film Festival
Festival / Special Debut
Key Information & Fast Facts
- Director
- Scott Bartlett
- Original Title
- OffOn
- Country of Origin
- United States of America
- Spoken Languages
- English
- Runtime
- 9m
Creative Leadership & Key Crew
Scott Bartlett
Department Leadership Roster
Scott Bartlett
Director
Production Stills & Gallery
Official cinematic photography and background stills for OffOn.
Featured In Curated Collections
Editorial lists, community rankings, and cinematic collections featuring OffOn.
National Film Registry
Films preserved in the Library of Congress National Film Registry.
My Film List
Psychosexual dramas, nihilistic fever dreams & surrealism with a touch of humour [Imported]
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Frequently Asked Questions About OffOn
Quick factual answers about cast, synopsis, director, box office, and release information.
What is OffOn about?
The human eye, the human form, the human face: these are the three central images of this avant-garde collage and kaleidoscope of shifting and fractured images, changing colors, and pulsing rhythms. Near the end, a tree appears briefly, and birds fly - first white, then red and blue. Celtic knots morph from one to another. The images become Rorschach tests although the mood, driven by the rapid changing images and the soundtrack, remains frantic.
Who directed OffOn?
OffOn was directed by Scott Bartlett.
Who stars in OffOn?
The principal cast of OffOn includes Not specified.
When was OffOn released and how long is it?
OffOn was released in 1968 with a total runtime of 9m.
