Hatmakers (Adrian Cooper, Brazil, 1983, 25 mins): In reverently, almost ritualistically observing the process of fabricating felt hats, this film depicts forms of mechanized labor suggestive of the early nineteenth century. Filmminutos: The Animal Trainer (Noel Lima, Cuba, 1983, 1 min): A dinosaur is trained to perform, too well. Banana Company (Ramiro Lacayo, Nicaragua, 1982, 15 mins): Contemporary sequences of banana workers harvesting, hauling, and processing the crop are intercut with period newsreel footage of a ceremonial visit by Anastasio Somoza to a Standard Fruit Company plantation. Somoza's modernizing rhetoric echoes hollowly against the persistent primitivism of contemporary working conditions. Fragments of Ernesto Cardenal's poem "La Hora Cero" (Zero Hour), recited by the poet, and commentary by the workers themselves provide the voice in this eloquently photographed work. Brickmakers (Marta Rodriquez/Jorge Silva, Colombia, 1972, 42 mins): Six years in the making, this deceptively modest-looking work is organized around a dual motif: the stages in a family's artisanal production of clay bricks, and an intricate hierarchy of voices that regulate their lives and their representation. Like Rodriquez and Silva's Love, Women and Flowers (SFIFF 1990), this film embellishes the political and sociological register with the subjective, an expressly woman-centered interiority. Arismendi (Harel Calderón, Venezuela, 1988, 28 mins): The people and images of the town of Arismendi, on the plains of Venezuela, are made palpably present long before we see what fuels their precarious economy. This anti-ethnographic documentary uses intertitles as arbitrary as Buñuel's, desultory dialogues, poetic voice-over, and experimental visual techniques.