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Expanding from an idea originally conceived as a manner of cinematic intervention in British television, the discipline of the one-minute film continues to bear fruit as a tree of quick wit. But even in its successful brevity, it is not just a mode for getting to a point. Like this one: a dry run, a probable sketch for another work, interrupting itself, tripping itself upwards and backwards, some films are best just for the notions they play around with.