The primitive allure of movies is a thing of light and shadows. A bad film is one which doesn't flicker and shift and move through lights and shadows, contrasts, textures by way of light... Images evoke feelings and ideas that are suggested by feelings.-Jack SmithThis program presents a gathering of sensory impressions, redesigned languages, and new logic in short experimental works. Textures tell stories, light draws landscapes, and the mundane is made hyperreal. The work ranges from boldly conceptual to lush and abstract, all representing interior realities, or perspectives on the relationship of the body to the world it inhabits, with an unalterable sense that things may never be set right again. When one looks so closely at an object, the object is changed forever. This work is by gay makers, and as such is of interest, but (the) work in particular is operating from a position that is continuous from, or related to, the classic avant-garde film practice of the sixties and seventies.-Stephen Kent Jusick (excerpted) Ellipsis by Lana Bernberg, Sabisha Friedberg (U.S.,1996, 9 mins, Color, 16mm). Les Attributs du Sujet (The Attributes of the Subject) by Jennifer Burford (France, 1993, 11 mins, Color, 16mm). Static by Nikki Forrest (Canada, 1995, 7 mins, Color, Video). Hallelujah Anyway No. 5 by Neil Goldberg (U.S., 1996, 2 mins, Color, Video). Homebelly by Wrik Mead (Canada, 1994, 8 mins, Color, 16mm). Corporeal Self by Virgil (U.S., 1996, 4 mins, Color, Video). Cypris by Marcelle Thirache (France, 1995, 3 mins, Silent, Tinted B&W, Super-8mm). Backcomb by Sarah Pucill (U.K., 1995, 6 mins, Color, 16mm). IDI by Chris Cutrone (U.S., 1995, 6 mins, Color, Video). That's Why I Am Crabby by Vadim Pevzner (U.S., 1991, 10 mins, Color, 16mm). Gay Pride4 by Timoleon Wilkins (U.S., 1995, 4 mins, Silent, Color, 16mm).