Haunted Camera (U.S., 2006, 30 mins, B&W, 16mm), Nancy Andrews's handcrafted homage to film noir and early motion-study photographers Marey and Muybridge, features puppets, a chalk illustrator, a possible death, and things one cannot draw. Fred Worden's Here (U.S., 2005, 11 mins, B&W/Color, Beta SP) conjures a dizzying optical encounter between actor Sir Laurence Olivier and turn-of-the-century cinema magician Georges Méliès. Dangerous Supplement (Soon-Mi Yoo, Korea/U.S., 2005, 14 mins, Color/B&W, DVCam), composed of both aerial shots filmed by bomber planes during the Korean War and contemporary footage of Korea, suggests the limited ability of images to represent the horrors of war. Jim Jennings's Made in Chinatown (U.S., 2005, 12 mins, Silent, Color, 16mm) exquisitely observes New York, being “a condensation of an emotion related to being on the outside looking in” (Jennings). The wonderful, intricate collage Phantom Canyon (Stacey Steers, U.S., 2006, 10 mins, B&W, 35mm) recalls a woman's journey long ago. Olivo Barbieri's aerial city study site specific_Las Vegas 05 (Italy, 2005, 12 mins, Color, 35mm) reveals a strangely unreal landscape.