Tonight's program highlights talented new filmmakers whose complex, haunting films reveal an equal fascination with resonant images and with ideas about images. Amie Siegel's mesmerizing and beautiful The Sleepers (45 mins, Color) is comprised of a series of tableaux, lives largely glimpsed at a distance through the windows of apartment buildings. A man talks on the phone as his wife reads the paper, another watches TV, a woman stares out into the darkness. We wait, we watch, expectant, patient, knowing something will unfold, knowing nothing will be clear. The stories we create from these building blocks illuminate ourselves, our concerns, and also the filmmaker's views on cinema. Brian Frye's quirky Anatomy of Melancholy (11 mins, B&W) seems to be a found film, probably a student film, with amateur performers struggling to convey weighty emotions. Frye's film refuses the question of moral responsibility enacted in the found film, and instead is accountable towards the qualities of the film medium itself. K. L. Burdette's absorbing, dense Even Lovers Have Still Lives (18 mins, Color/B&W) probes a series of troubled romances, some of which founder due to an awareness of society's strictures, others to a lover's sense of self. Using found texts and footage, from Kathy Acker's "Rimbaud" to David Lean's Brief Encounter, Burdette finds similar subcurrents within the stories she retells, and explores whether, ironically, narratives limit our imagining of desire.-Kathy Geritz