The artists in tonight's program share a fascination with the possibilities of a film language-some with a language that is film specific, drawing on the properties of cinema, others with language itself seen via the medium of film. Guy Sherwin's exquisite Filter Beds (U.K., 1998, 9 mins, B&W) is a landscape portrait, but also a rendering of the minute changes that occur when focal length is shifted. Jim Jennings finds a play of colors reflected and refracted beneath the El in Brooklyn in his lovely Intrigue (1998, 14 mins, Silent, Color). Steve Polta continues his fascination with the properties of light and film grain in his ethereal Minnesota Landscape (1999, 10 mins, Silent @18fps, B&W/Color), while in his Motion Studies (1995-98, 7 mins, Silent, B&W) Mark Wilson returns to some of cinema's earliest experiments to rediscover a grammar constructed from movement, whether of humans or of light. In Luis Recoder's film performance Möbius Strip (1998, 12 mins, Silent, B&W) his unique threading of the film projector causes images from a forties sports film to overlay in dreamy sequences that mirror and discover each other. Donna Cameron literally draws on squeezed found footage and written text detailing a beekeeper's tasks in her Die Honigbiene: A New Technology Film (1997, 8.5 mins, Color/B&W). In Neil Goldberg's Still Point (1998, 3.5 mins, Silent, B&W, Video) a series of people silently gesture; the meaning of their hand movements is withheld from us, yet they mesmerize. In Kathrin Resetarits's deeply moving Egypt (Austria, 1997, 10 mins, B&W), a delicate series of tableaux centers on the expressive language of the deaf as a song, a movie, and a story are signed.-Kathy Geritz