For the First Time (Octavio Cortazar, Cuba, 1967, 10 mins, 35mm, Print from PFA Collection): In a mountain hamlet whose inhabitants can only conjecture what a movie must be like ("a dance, a party, a large town"), the magical moment of the discovery of cinema is captured. The film: Chaplin's Modern Times, shown by a Cuban Film Institute mobile projection team. An Event on the Beach (Fernando Amaral, Brazil, 1960, 15 mins): A deliberate search for a Brazilian "new wave" fuses hooliganism and heroism, neorealism with cinema verité. Music by Luiz Bonfá (Black Orpheus). Motivations (Marisol Trujillo, Cuba, 1988, 14 mins): This exploration of the work of Afro-Cuban painter Manuel Mendive, with its metamorphosing human and animal forms, itself takes the form of performance, interview and celebration. The Centerfielder (Ramiro Lacayo, Nicaragua, 1985, 18 mins): A condemned man escapes through his love of baseball. Arabesque (Eliane Caffé, Brazil, 1979, 15 mins): A stylish quasi-farcical fantasy of a pair of burglars reacting to the unexpected. I Like Students (Mario Handler, Uruguay, 1968, 10 mins): Hurriedly shot and edited, this urgent artisanal film on the Conference of Latin American Heads of State at Punta del Este, and the protests that greeted it, became an instant emblem of the era, embraced by the international student movement. Under the Table (Luis Osvaldo Garcia/Tony Venturi, Chile/Canada, 1983, 23 mins): Illegal immigrants in Canada tell their stories in this experimental scripted documentary, made memorable by metaphors of facelessness and deafness, expressionistic sound and image tracks, and an autobiographical subtext.