In Everything's for You (58 mins, B&W), Abraham Ravett examines therecent loss of his father, Chaim, who had been a survivor of the LodzGhetto and Auschwitz. Incorporating movies he shot over the years,Ravett reveals some of the changes that his relationship with his fatherunderwent. His original harsh, insistent questioning is replaced by asense of the limits of knowledge, a shift from "You never told meanything" to "What can I know? I can't know anything."This awareness is also linked to his father's past, of which he did notspeak but which included a previous family, victims of the war. Thesense of silence pervades the work, so that when Ravett questions hisfather in Yiddish, it seems an attempt to reconnect and anacknowledgment of unspeakable loss. In seeking out a past characterizedby absence, the film, by necessity, broadly defines what constitutesmemory, using home movies, school portraits, archival images, andanimated enactments of childhood experiences. Preceded by shorts: Blessed in Exile (Ken Ross, USA, 1979, 14mins) which "seek(s) the dynamism of two seemingly disparatecultures (Hasidic Jews, Jamaican Baptists) (that) share an eternal stateof timelessness...and a bittersweet state of being..." (K.R.); andA Brennen Soll Columbusn's Medina (Saul Levine, USA, 1976-84, 15 mins,Super-8mm), the third musical in the trilogy, "A Few Tunes GoingOut." --Kathy Geritz