Since the early sixties, Storm de Hirsh has been a germinal figure in the New American Cinema. Her film work developed innovative techniques of etching and painting blended with images of natural landscapes and experiments with the cinematic process. Her film sketches or “cine poems” The Reticule of Love (mid-1960s, 4 mins) and Aristotle (c. 1970, 3 mins) are restored and blown up from Super 8. (Silent, Color, Courtesy Filmmakers Collective.) Considered the “mother” of the American avant-garde, Maya Deren was a groundbreaking filmmaker, writer, and theorist who fought for the recognition of film as an art form. She spent many years of her short life researching Haitian voodoo religion, and her last film, Divine Horsemen: The Living Gods of Haiti (1947–51, 60 mins, B&W, Courtesy Tavia Ito), is a cinematic document of that study (she also wrote a book on the subject). After languishing unfinished for years, Divine Horsemen was edited into a whole after Deren's death by her widower Teiji Ito and his wife Cherel Ito.