Where would we be without Canyon Cinema? Venerable distributors of the finest in experimental cinema, San Francisco's Canyon has withstood the 1989 earthquake, Jesse Helms, and vinegar syndrome (a particlarly smelly form of film deterioration), fighting the good fight year after year for the benefit of filmmakers and cinema lovers all over the world. In honor of Canyon's 35th anniversary, we proudly present a program of recent additions to the co–op's collection. Diane Kitchen's Wot the Ancient Sod (U.S., 2001, 17 mins, Silent) is a stunning nature study which employs rack focus to alter our engagement with autumn foliage. Frédérique Devaux's Ellipses (France, 1999, 6 mins) achieves microeffects of collage by creating a new composite filmstrip of dense transparencies. In Bum Series (U.S., 2001, 4 mins) Konrad Steiner edits color–saturated city views to the rhythm of a reading of Leslie Scalapino's title poem. Robert Breer's ATOZ (U.S., 2000, 5 mins) is a compendium of the perceptual investigations that have characterized the animator's remarkable career. Maïa Cybelle Carpenter's Sans Titre (U.S., 2001, 8 mins, Silent) "attempts to remove the Form of abstraction from Matter and thus places the viewer in a virtual temporo–space." Saul Levine's Light Lick: Get It While You Can (U.S., 2000, 10 mins, Silent, Super–8mm) is one of a series of abstract, "imageless" films, shot frame by frame yet relying on light to spill out over the framelines. In Porter Springs Four (U.S., 1999, 15 mins), Henry Hills recomposes twenty years worth of personal footage, creating a poignant record of his family's past "assembled and presented in the rhythms of my mind and body." Finally, Michael Snow's The Living Room (Canada, 2000, 21 mins) combines film and DV to create a family sitcom of sorts, wherein the comedy results from the utter instability of where and how bodies are situated.-Michael Sicinski