Artist in Person Presented with support from the Theresa Hak Kyung Cha Endowment. Britta Sjogren's first feature film is an inventive, intriguingnarrative of a young woman, Jo-Jo, and two men, John and Luke, one an astronomerand the other a phone-sex entrepreneur. Not unlike Nana in Godard's My Life toLive, Jo-Jo fluctuates between the two, between "her destiny and her desire."Jo-Jo has an interest in women martyrs-she collects them on postcards-which islinked to the film's larger interest in the socialization of women. Jo-Jo vaguelybelieves that she must give up what she wants and her doing so will somehow avertnuclear war. She hears voices, they call her on the phone, tell her what to do.But is this her inner voice, struggling to speak out, or the social,institutional voice, claiming her? A disembodied, omniscient voice typically isassociated with authority (and author), but Sjogren's use is mysterious, raisingquestions as to who speaks and when, who listens and why. An allegory filmed inblack and white on the streets of Los Angeles, the film recalls the New Wave'spoetic mix of the planned and the accidental, of thinking about film and thinkingabout life. -Kathy Geritz Britta Sjogren graduated from UC Berkeley in Humanities, and fromUCLA's Film Production and Critical Theory Programs.