Preceded by Short Inner Movie (Laszlo Santha, Hungary, 1991). Put an ad in the newspaper, invite anyone who loves movies to come and tell his or her "movie story"; in a Budapest movie-palace lobby, the director listens to their tales. They have all had the "primal screen" experience; in fact, they are so afflicted that, given this opportunity, they enter the moments that have possessed them. Given a chance, these people would have walked into Minnelli's The Clock and Minnelli might have welcomed them. (30 mins, Dubbed in English, Color, 3/4" video, projected, From the Artist) Lonely office worker Judy Garland and country-bred soldier Robert Walker meet in "New York, New York." As the clock ticks away on the soldier's two-day leave, they fall in love, lose each other, reunite and marry, only to find they are still strangers. A simple, romantic story, made memorable because, as director Minnelli himself said, "the accidental juxtaposition of people and things makes for surrealism." In The Clock, Minnelli is at his most "extra crazy...taking infinite pains to invent minor bits of business with anonymous individuals and groups," as James Agee wrote. "Few films in recent years have managed so movingly to combine first-grade truth with second-grade fiction....His semi-surrealist juxtapositions, accidental or no, help turn The Clock into a rich image of a great city. His love of mobility, of snooping and sailing and drifting and drooping his camera booms and dollies, makes The Clock, largely boom-shot, one of the most satisfactorily flexible movies since Murnau's epoch-making The Last Laugh."