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A hand-processed portrait of Jake Williams – who lives alone within miles of forest in Aberdeenshire, Scotland. Jake always has many jobs on at any one time, finds a use for everything, is an expert mandolin player. He has compost heaps going back many years. He has a different sense of time to most people in the 21st Century, which is explicitly expressed in his idea for creating hedges by putting up bird feeders. It struck me straight away that there were parallels between our ways of working - I have tried to be as self-reliant as possible and be apart from the idea of industry - Jake's life and garden are much the same - he can sustain himself from what he grows and so needs little from others. To Jake this isn’t about nostalgia for some treasured pre-electric past, but more, a very real future.

America is at war with Iraq, but does anyone around here care? As long as it rains. During the war against Iraq, that was and is supported by the majority of Americans, Horvath traveled through the rural Midwest of the United States. There, he polled opinions among the local population.

Is water part of a shared “commons,” a human right for all people? Or is it a commodity to be bought, sold, and traded in a global marketplace? “Thirst” tells the stories of communities in Bolivia, India, and the United States that are asking these fundamental questions.

Third Known Nest brings together Kalin's witty and poignant "video diary" pieces with new interstitial material that thematically links the works with cogent literary quotes. Merging elements of music video, text, and intimate Super 8 "home movies," Kalin has created a personal and cultural chronicle of the 1990s. Tracing a trajectory that moves from stylized AIDS activist spots to alternative music videos and poems of love and loss, Kalin' video journal culminates in a performative self-portrait.

Most of the walls of houses in Saint Louis, Senegal, are covered with paintings depicting the master of the Mourid Brotherhood, Amadou Bamba. These frescoes are also to be found on ships' flags, on barouches, and in bedrooms. Most of them bear the signature of Thiam B.B. This film introduces us to Mourid ideas through these paintings and a meeting with Thiam, a mystical, vagabond painter.

It is an erotic response on the Helms Law, the American government's refusal to subsidize the prevention and awareness on AIDS. Kalin writes: "They are lost to vision altogether acts as erotic retaliation on legislation such as the Supreme Court sodomy ruling — declaring the private bedroom as open target for the State — or the Helms Amendment — the U.S government's refusal to fund explicit AIDS prevention information for gay men, lesbians and IV drug users. An attempt to reclaim eroticism and to address the contradictions of sexuality and romance in the face of a monolithic and culturally compulsory heterosexuality, They are lost to vision altogether finds queer history where it can and invents the rest." 2 Mostra de Vídeo Independent de Barcelona 1994.