The thriving city of Belo Horizonte in the state of Minas Gerais has bred a particular sensibility, one which could be best described as poetic; at least that is how it appears from here. The artists of this region, who work in close proximity both intellectually and aesthetically, have amassed a body of video remarkable for its lyricism, scrupulous craft, and fondness for pictorial poignancy. Many of these works could be reductively designated as video-poems, however it is rare that they stop at mere illustration, reaching instead for emotional and cerebral tonalities. Lucas Bambozzi's That Is A Place I Do Not Know (Ali é um lugar que não conheco) (1996, 6 mins) is a beaming video-poem about unattainable places and the allure of intangible desire. Eder Santos's Tumitinhas (1998, 4:47 mins) interprets a poem by Sandra Penna in which she subverts the double-edged children's song translated as "youhadme." Kiko Mollica pays tribute to the passing of his much-revered grandmother in Granny Rita (1996, 6:18 mins), combining affectionate portraiture and words once exchanged. Marcus Nascimento refines his compact poetics in Videohaiku (with Aggêo Sim998, 5:58 mins), a series of sensorial observations embedded in painterly video textures. In André Amparo's Bottom of the Sea (O fundo do mar) (1998, 2:43 mins) reflections on dryness are awash in a boundless flood.-Steve SeidAlso to be screened:Otto (Lucas Bambozzi, 1998, 20 mins). The Toys (Os brinquedos) (Kiko Mollica, 1997, 1 mins). Video Chronicles (Kiko Mollica, 1995-97, 3:30 mins). Vídeo Cabeça (Kiko Mollica, 1997, 40 sec). Memória (Marcus Nascimento, 1998, 2:15 mins). Janaúba (Eder Santos, 1994, 17 mins). Un Ponce de Dor (Pedro and Paulo Vilela, 1998, 1 min).