Lynne Sachs in Person Throughout The House of Science: a museum of false facts, an image of a woman, her brain revealed, is a leitmotif. It suggests that the mind/body split so characteristic of Western thought is particularly troubling for women, who may feel themselves moving between the territories of the film's title-house, science, and museum, or private, public and idealized spaces-without wholly inhabiting any of them. Lynne Sachs' film explores society's representation and conceptualization of women through home movies, personal reminiscences, staged scenes and found-footage and -voice. Her personal memories recall the sense of her body being divided, whether into sexual and functional territories, or "the body of the body" and "the body of the mind." The enigmatic quality of her essay film, and her inclusion of her own writings and collaged constructions, suggest possibilities of a supplanting the "house of science" with a house of poetics in which female identity is no longer imagined in relationship to patriarchal constructions. Coffee Colored Children is Ngozi Onwurah's poignant, powerful autobiographical portrait of two black children of a white mother and absent Nigerian father, the only blacks in an all-white English community. Over re-enacted footage, Onwurah recalls her childhood, and the difficulty of forming a sense of identity when all reflections, save those of her brother and the mirror, were white. Gerry Wentz's Water Marks also uses text to carry memories of childhood, but here juxtaposed with recollections of growing up in a Fundamentalist family. The "marks" left by the past are examined in relation to the dense interconnective fabric of family, religion and media. --Kathy Geritz