“There is a balance in Diminished Frame between a sense of the past seen in the views of West Berlin, filmed in black-and-white, and a sense of the present in which I filmed myself showing how the color is being created by placing filters in the camera's aperture” (Beavers). “The first half of Still Light explores delicate nuances of lighting, color, and depth as Beavers shoots the face of a young man in various locales on the Greek island of Hydra . . . The second half was shot in the London flat of Nigel Gosling. The two halves bring to mind any number of structuralist binarisms: youth and age, creation and criticism, action and reflection, living landscape and mummified text” (Ed Halter).

From the Notebook of . . . is a masterful work of structural harmony, binary oppositions, and self-reflexive form. The title refers to Leonardo da Vinci's notebook and to the filmmaker's own written observations on filmmaking techniques. The filmmaker's view of the world (in this case, Florence) is mediated by a careful sequencing of moving mattes, which split the screen vertically, giving the effect of a page turning in a book. Gloriously shot and edited, the film is simultaneously introspective and engaged in understanding the world. Emblematic images include a dove being set free, the lush green leaf of a plant, and the male form. The Painting uses masking and rack focus techniques to disclose portions of The Martyrdom of Saint Hippolytus, a fifteenth-century altarpiece. “Beavers gives a . . . rarefied psychodramatic jolt, juxtaposing shots of Gregory Markopoulos, bisected by shafts of light, with a torn photo of himself and the recurring image of a shattered windowpane” (J. Hoberman).

There will be a ten-minute intermission following Still Light.