Two filmmakers who have been working in small-gauge mediums for over twenty-five years present overviews of their life work in Super-8mm, drawn from the selections included in the original Museum of Modern Art retrospective on which S.F. Cinematheque and PFA's series (continuing through June) is based. El Paso-based Willie Varela's highly personal films were originally influenced by the lyrical style of Stan Brakhage, but with his own unmistakable stamp, and in recent years his work has broadened to include cultural critiques and documentary forms as well as video. The program will include early lyrical pieces (Ghost Town), philosophical mediations (Recuerdos de Flores Muertas), diary portraits (House Beautiful), and formal explorations and portraits (In the Flesh), among others.Janis Crystal Lipzin is known for her work in many media and has taught at the San Francisco Art Institute for over two decades. Lipzin's films offer a unique blend of rigorous conceptual structure, formal investigation, and sensual discovery. The Bladderwort Document is a haunting visual fantasia of her life on a farm in the 1970s; Trepanations is a droll meditation on social forces and women's appearance; and Seasonal Forces, Part One creates a fluid and immediate record of the cultural and seasonal changes in the rural landscape where she lives.-Steve Anker Willie Varela: Ghost Town (1974, 3.5 mins, Silent, Color), Moondance II (1974, 3.5 mins, Silent, Color), Reaching for the Moon (1979, 3.5 mins, Silent, Color), Recuerdos de Flores Muertas (1982, 7 mins, Color), The Cube (1982, 3.5 mins, Silent, Color), In The Flesh (1982, 3.5 mins, B&W/Color), House Beautiful (1988, 10 mins, Silent, B&W/Color), Detritus (1989, 5 mins, Silent, B&W/Color).