In Evita, the Pain, Eva Perón is presented both as one of the most important figures of Argentine politics and an allegory of Argentine history itself. In Qu'est-ce que c'est, by underlining the differences between the film material and the video medium that supports it, Flavio Nardini achieves an interplay between the characteristics of both arts. Transatlantic is about the very act of visual perception, and looks like a blueprint for the construction of a new sort of landscape.-Jorge La Ferla Janaúba reveals the ideal Eder Santos is incessantly searching for: the primordial recuperation of visual arts, the re-establishment of the meaning and power of images allegedly lost in the current ocean of industrial icons. In the series Parabolic People, editing and digital processing techniques permit a nearly infinite quantity of images to be placed within the televisual realm, combined in unexpected patterns, and rearranged and reconsidered.-Arlindo Machado Men Dying of Love and the Crowd of Women is a gallery of sharp portraits, where parody and simulation draw a hardly disguised smile to the lips. The Sublime Evolution develops the idea of a global village based upon antique oriental writings. His Eye Plunged Into the City is constructed as a travel journal, but the true journey is through memory.-Néstor Olhagaray Evita, the Pain (Jorge Amaolo, Argentina, 1993, 3:30 mins). The Sublime Evolution (DaHuo, Francisco Fabrega, Chile, 1992, 7 mins). Janaúba (Eder Santos, Brazil, 1993, 17 mins). Qu'est-ce que c'est? (Flavio Nardini, Argentina, 1994, 7 mins, B&W). Parabolic People (Sandra Kogut, Brazil, 1991, 42 (correction: 11:42) mins). Transatlantic (Arturo Marinho, Argentina, 1992, 7:30 mins). Men Dying of Love and the Crowd of Women (Germán Bobe, Chile, 1992, 8 mins). His Eye Plunged Into the City (Marcela Poch, Chile, 1993, 12 mins).