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San Francisco Cinematheque perspective of the spectator which parallels the shifting, searching identity of the filmmaker, looking for safety at "home." That's her beating her head against the wall. Time Being (1991) by Gunvor Nelson; 16mm, b&w, silent, 8 minutes Nelson names through witnessing and mirroring with her/our camera eye the process of dying, evoking at once the struggling spirit. Framing and lighting recall painting traditions of death portraits and northern European domestic interior painting; here an ironic tranquility prevails. The self-reflection of maker and spectator culminates in a discrete bow to her feet. The Red House (1994) by Janie Geiser; 16mm, color, sound, 11 minutes Geiser creates a powerful portrait of a self/artist newly bonding mind and body, fusing images of the creative process itself with that of hands-on physical creation in the animation of the birth of the "house." The dialectic of a dwelling as trap/shelter seen in other works is also evoked here in the red vs. black and geometric vs. organic form, and one image recalls the Woman-house series by Louise Bourgeois. — Program Notes by Sandra Davis — ALWAYS AT THE AVANTE-GARDE OF THE AVANTE-GARDE UNTIL PARADISE AND BEYOND Presented live by the French section of the international front of supercapitalist youths® Tuesday, March 25, 1999 — Pacific Film Archive Some people might live happier ever after if they understood better why the letterists make these types of movies instead of simply making well-made films, good old war films, tear-jerking love films, gadget-filled science fiction films, action-packed karate films or kung fu films, like Steven Spielmerd, Michael Snuf, or Jean-Luc Grolard. Cinema being like god, the letterists (who as some anonymous sources indicate, gave it the last blow) have been pissing on its grave ever since 1951, which may explain why their films alone will be remembered by future generations. Anyway, you are cordially invited to contribute to the radical critique of political economy and civilization in general by donating any piece of paper, newspaper clipping, sticker, photograph, slide, piece of film, vinyl record, audio cassette, audio tape, videocassette, compact disc, floppy disc, etc., which you might have in your possession. (Once given, contributions will not be returned.) —The council of the French section of the international front of supercapitalist youths® Imagine, infinitesimal film by Albert Dupont, 1978. The Evidence, infinitesimal film by Roland Sabatier, 1966. Vomit Cinema, Spit Cinema, Snot Cinema, Excrement Cinema, Excretion Cinema, esthapei'rist film by Maurice Lemaitre, 1980. Like a Silent River: The Happy Deaf and Blind Man's Film, esthapei'rist film by Maurice Lemaitre, 1980. To Make a Film, supertemporal film by Maurice Lemaitre, 1963. A Super-Commercial Film, infinitesimal and supertemporal film reduced solely to cinema's economic dimension by Roland Sabatier, 1976. Your Film, infinitesimal film by Maurice Lemaitre, 1969. A Sentimental Film, esthapei'rist and hyperchronist film by Maurice Lemaitre, 1980. Presence(s), imaginary, nonexistent, or impossible infinitesimal film by Frederique Devaux, 1980. A Film to Be Made, esthapei'rist and hyperchronist film by Maurice Lemaitre, 1970. 30