Presented as part of Views from the Avant-Garde at the New York Film Festival 2000The Heart of the World (Guy Maddin, Canada, 2000): Without anyone suspecting a thing, I've jammed tiny, microscopically fleeting plot twists between the images of my ostensible movie presentation, deviously submerging in this way an entire feature film-the world's first subliminal melodrama.-G.M. (5 mins, B&W, 35mm)The Fourth Watch (Janie Geiser, U.S., 2000): In the hours before dawn, an endless succession of rooms is inhabited by silent film figures occupying flickering space in a mid-century house made of printed tin.-J.G. (9 mins, Color)The Glass System (Mark Lapore, U.S., 2000): The Glass System, made from images shot in New York and Calcutta, looks at life as it is played out in the streets-a place which exists in a dream where life is both complicated and fleeting. The sound is a meditation on how ideas about culture are learned through language.-M.L. (19 mins, Color)Surface Noise (Abigail Child, U.S., 2000): Found footage exploring public and private space, organized formally as a sonata, centered around work and issues of class. (18 mins, Color/B&W)Moon Streams (Mary Beth Reed, U.S., 2000): Moon Streams represents a hand-painted abstraction of creation.-M.B.R. (6 mins, Silent, Color)Like A Dream That Vanishes (Barbara Sternberg, U.S., 1999): Imageless emulsion is intercut with brief shots of natural elements and mise-en-scène of the stages of human life.-B.S. (40 mins, Color/B&W)Origin of the 21st Century (Jean-Luc Godard, France, 2000, tentative): With poetic apositeness, these images (from Kubrick, Dreyer, pornography, war reportage, and the nineteenth-century Lumière brothers) act as "rosebud" and Rosetta Stone, as Godard looks at a century vanished but undead in his most concise and heartbreaking film.-M.McE. (13 mins, Color, 35mm)