Nocturna Artificialia (Those Who Desire Without End): In the QuayBrothers' first film, made before their collaboration with Griffiths, a dreameris drawn into the mysterious nocturnal world, "where a tram-car (which mightbe named 'desire') carries him towards an obscure epiphany.... The movement ofthe film...recalls the sadistic enigmas of Borowczyk...while the specificiconography evokes Paul Delvaux's nocturnal streets and trams...eerily traversingwhat Breton called 'the great suburbs of the heart'" (Ian Christie, MonthlyFilm Bulletin). Punch and Judy: Following Punch and Judy from their malevolentmedieval personas through their much-mollified assimilation into Englishfolklore, this film finally restores the odd couple to their rightful roles ashair-raising anarchists. It is a stunning mixture of mime, mask, painting,crudely animated documents and mischievously reanimated newsreels, as well as thedemonic atonalities of a modernist opera by Harrison Britwistle brought to"life" in a puppet fantasy/nightmare. The Eternal Day of Michel de Ghelderode: Using the tricks of theFlemish playwright's own trade--puppetry, masks, and a Breughelesque sense ofbizarre carnival--"the collaborators succeeded in bringing about a rich andsardonic humor lurking at the edge of the playwright's macabre, death-obsessedimagination (in an) allusive homage...." (Mark Le Fanu)