Born into theHudak petrochemical empire, as a boy Isaac Hudak studied insects, carefully printing his observations intolined notebooks, and developed the habit of betting on things in nature that move. As a young man, let gofrom his job at Lockheed, he stumbled into the lucrative business of illegal hazardous waste dumping, aswell as the habit of haunting race tracks. By old age, his gambles had paid off; he was dying of cancer. InForevermore, "leach lord" Isaac Hudak reads his life story from diary entries from his youth, youngadulthood, and old age; that is, from the past, present and future. Less a sci-fi story than the story ofsci-fiasco, the collage of entries from the '40s to the '90s builds to a portrait of industrial irresponsibilitytowards toxic waste. The portrait filmmaker Eric Saks constructs is more cubist than linear, approachingHudak from different times in his life, and from varied angles (personal, economic, social, cultural). Scenesof Hudak at different ages, educational film clips-earnest young men learning facts and strategies("analyze," "plan," "deliver") from sincere older men, shots of figures mysteriously collecting data, visual"specimens"-images collected from the TV, roadside and private life, are gathered into an impressivecollection of information. And yet, within a "fake" documentary structure, Saks undermines this"scientific" project, showing how figures are altered, facts manipulated, images simulated, and crucially,how what one doesn't see is at least as important as what one does. As a "leach lord," Isaac Hudak hid toxicwastes over an empire of which only he knows the boundaries, a legacy that won't disappear. Kathy Geritz