A selection of recent experimental works made in the upper Midwest (or by people now living there). Undermining the idea of a universally Midwestern ethos, the works reveal diverse formal approaches, varied takes on Midwestern place and landscape, perverse interests in hunting and taxidermy, and irreverent examinations of various Native American and Euro-American cultural icons. Unlike Fargo, the only snow you'll see here is in a snowglobe. Little Miss Potentiality (Thalia Drori, 1995, 15 mins, B&W, 16mm) is a wry take on classic silent films which Drori calls "a tale of a woman who thinks she can make it as a writer without selling out to The Man." In The Mal de Mer Tapes (Matt Wacker, 1999, 10 mins, Color, Betacam SP), almost autobiographical video fictions depict an awkward and guilt-ridden world where the hazards of attempting to fulfill one's desires are all too apparent. Made in the South Dakota Black Hills, Yes, I Am Not Iktomi (Charles Nauman, 1999, 39 mins, Color, Betacam SP) is a cinematically inventive and absurdist contemporary retelling of Trickster mythologies. Using images from postcards, The Penfield Road (Diane Kitchen, 1998, 5 mins, Color, 16mm) is a playful structural exploration of the contradictions of representing and inhabiting landscape. Condor, A Film from California (1998, 7 mins, B&W, 16mm) was made in Minnesota, contrary to the title, by San Francisco resident James T. Hong. High school science and self-help implode in this bitingly sarcastic examination of the California psyche. The Minneapolis Wrestling Club (John Lightfoot, 1998, 17 mins, B&W, Betacam SP) is a group portrait of veteran professional wrestlers, including Sodbuster Kenny Jay, the Texas Midget, and Stan "The Krusher" Kowalski.-S. Matheson, J. Lion