How does one generation of survivors communicate with the next? Happy Are the Happy (Sarah Jane Lapp/Jenny Perlin, Czech Republic/U.S., 1999, 18 mins, B&W, 16mm) takes a haunting yet humorous ride through the past and present of Bosnian, Jewish, and Romany refugees. Korean filmmaker Sungyeon Jon's experimental animation Grandma (2000, 5 mins, Color, BetaSP) traces her own grandmother's experience of surviving World War II. Sundance programmer Shari Frilot says of Tina Gharavi's Closer (U.K., 2000, 24 mins, Color, 35mm), "Gharavi takes documentary film to the next level." This stunningly realized film has at its heart a poignant character study of a working-class lesbian; fiction and documentary collide as "scenes" from the subject's life are reenacted for the camera. Dream (Masayo Nishimura, Japan, 1999, 2:30 mins, Color, 16mm) follows a woman into the subway station and evolves into a surreal trip to the moon. Dreams are easy to wish for but not always attainable in the animated SFIFF Golden Spire Winner Window (Victoria Livingstone, U.S., 2000, 10 mins, B&W, 35mm). A house slowly crumbles as its inhabitants continue to attempt to maintain order in the haunting and meditative House Taken Over (Liz Hughes, Australia, 1998, 17 mins, B&W, 35mm). Plus a number of other mysterious, moody films.*