Works by Peter Gidal, Jerry Tartaglia, Peter Herwitz, Jennifer Montgomery and Phil Solomon In the films presented tonight and next Tuesday, the photographic record is elusive-images disappear beneath hand coloring, are erased or transformed by chemical and optical processes, are "weakened" by punctures or cuts. The very surface of the film communicates. British filmmaker Peter Gidal's Flare-Out (1992, 20 mins, B!W) is a delicate depiction of pyramids, in which the differing film stocks give the pyramids their form and the film material itself provides the sound. Interpretations of Dreams (1993, 17 mins) continues Jerry Tartaglia's interrogation of his life in film. In Journal Intime: A Trilogy (1992, 12 mins), Peter Herwitz draws out ambiguities in nature and image-making to create an emotionally charged surface. In Home Avenue (1989, 17 mins, Super-8mm), Jennifer Montgomery documents her recollection of being raped a decade earlier, intermittently using hand-processed images as if to allow herself to "touch" the past. Phil Solomon's Remains to Be Seen (1989, 17.5 mins, Super-8mm) was made on the occasion of his mother's death, as reflected in the fragility of the images which seem to crack and shatter, unable to hold themselves together.-Kathy Geritz