Every subject must be seen from both sides, and borders are no exception. Jesse Lerner's indignant Natives (U.S., 1991, 24:13 mins, 16mm, From the artist) captures the rabid racism embraced by Americans living along the Mexico border. One group of citizens called "Light Up the Border" held rallies in which they would flood the frontera with car headlights to illuminate possible intruders. Shot in expressive black and white, Natives critiques nativist attitudes by contrasting their declared love of country with their anti-democratic ideals. A conceptual trailer, Berta Jottar's Border Swings (U.S., 1994, 8 mins, Beta SP, From the artist) follows masked marvel "Enigma" as she crosses el bordo in search of the "documented female body." The location proves elusive, but the wrestling superheroine grapples with notions of labor and gender nonetheless. The border is a contentious zone of economies and migrations: in Biemann's Performing the Border (43 mins, In English and Spanish with English subtitles, Beta SP, From Women Make Movies) it is also a "discursive space" where issues of gender, control, and desire are mapped onto the arid terrain. Ciudad Juarez, just across la linea from El Paso, is the setting. Here, high-tech maquiladoras produce phenomenal wealth while the workers, primarily women, just scrape by. Biemann's perceptive essay describes technology and sexuality in a showdown on the frontiers of capital.-Steve Seid