Note: Contains sequence of non-consensual sex-discretion advised. (Den sedmy, osma noc). Evald Schorm's End of a Priest (PFA, April '90) showed us that devastating satire and tragedy are only a film-frame apart. The Seventh Day, the Eighth Night disarms audience complacency even further in being a parable in the form of outright farce-and Schorm's comic touch is sublime. A small town becomes, by degrees, gripped by fear after a traveling theater troupe, performing a Passion play, by their very presence introduces an element of the unknown into this closed community. A lone train car sitting on the tracks, the arrival of a big-city journalist, the disappearance of the station master all become mysteries to be manipulated in this gigantic practical joke which a town plays on itself. Meanwhile, the journalist and her actor lover try, against all odds, to consummate their own fast-waning passion. Intermittent aerial shots from the point-of-view of "them," set to eerie electronic sounds, throw this paranoid passion play into perspective. Schorm uses the shadows, stones and corners of the familiar to effect his atmosphere of mounting dread.