Preceded by short: Practisse (Cheryl Donegan, 1994). Donegan's specialty is the mask-the concealed face, the body once removed. In Practisse she performs "face paintings," pressing her paint-smeared visage against such things as panes of glass and a clear cellophane hood. This exposé of the self-portrait becomes at once an irreverent critique of art-making and an alluring set of vaguely erotic compositions. (6:40 mins) In an isolated summer house, nine young women sit around drinking, telling stories, confiding in each other. Liquor bottles pile up, ashtrays overflow: the party has gone on too long. Then a chill settles in. Intimacy turns to contempt, quiescence is marked as weakness. In the midst of this coagulating atmosphere, each of the women reveals some naked vulnerability, some frightful aggression. Kvium and Lemmerz's experimental feature Voodoo Europa is a beautifully composed process piece with improvised acting, spiked by scripted monologues. Disquieting performance tableaux-a woman licking debris-strewn tabletops, another clopping about in sandals made from steaks, yet another filling a sleeper's mouth with toothpaste-gather towards the restrained bedlam of this summer outing. Rendered in eerily tinted B&W, Voodoo Europa isn't just some nasty slumber party. The animosity and mistrust is the curse of these women's powerlessness. It's The Big Chill meets Lord of the Flies, read through post-feminism.-Steve Seid