One of Brazil's most prominent video artists, Carlos Nader is something of an ineffable essayist. Best known for 1992's exuberant Beijoquerio: Portrait of a Serial Kisser (screened several times at PFA), Nader has numerous works remarkable for their diverse, lyrical explorations and visual stylizations. Perhaps his most deceptive video piece is The End of the Journey (O fim da viagem) (1996, 30:35 mins), an uncanny road "movie" about labor and love, masquerading as a television documentary. Following the routine trip of a truck driver delivering hogs, Nader subtly highlights the profound connection of the everyday to the sustaining cycles of nature. Trovoada (1995, 16:25 mins) and Carlos Nader (1998, 15:30) are formal relatives, relying on gorgeous visual interventions, but then they part company. Where Trovoada looks at the notion of time as a personal sensation, Carlos Nader implodes autobiography by dispersing identity across a complex cultural landscape. Ravishing panoramas intermingle with strange testimony about autonomy, perception, and the thousand and one secrets we conceal. Award-winner at the 12th Videobrasil.-Steve Seid