The Cohens depict the city as haunted terrain, filled with chill facades and ghostlike inhabitants. Though the brothers work separately, they ply a common genre, the city symphony, and share the same fascination with the play of light upon a skyline, the whispered histories captured in chance encounters. Adam Cohen's Blind Grace (1993, 20 mins) moves sensuously through the streets of New York, finding the little disturbances that mark one moment from the next. A man engulfed by pigeons, a prostitute applying her makeup, children fleeing from the snap of firecrackers-behind these discarded glimpses, the city looms in its hard majesty. Jem Cohen's Buried in Light (1994, 60 mins) seeks the imprint of history in an Eastern Europe slowly sliding into modernity. The past weighs heavily upon the dark brow of Berlin, Dresden, Krakow, Budapest, and Prague, yet Cohen also locates the present in the quiet insinuation of western culture. Aqueous light and time-drenched imagery calls forth a symphony of a provisional place.-Steve Seid