This series of five programs concludes with an assortment of “Wounds, Wonders, Visions.” Matthias Müller’s Alpsee (1995) is an affecting portrait of a boy reaching puberty as his home seems to go mad with metaphors for emotional chaos: the closing of a drawer introduces a montage of doors and windows closing; the pouring of milk leads to curves of white spreading over pristine surfaces. Ayse Polat?s A Party for Beyhan (1994), set in almost featureless semidesert, evokes feelings of displacement as it intercuts segments of a Turkish teenager with shots of her as a child. Depending on your appetite for postmodernism, Björn Melhus’s Far, Far Away (1995) is either humorously wise or totally moronic: a German woman named Dorothy wants to go “over the rainbow” with her dog Toto (and just in case we don’t get it, there’s a poster for The Wizard of Oz on her wall). A magic telephone allows her to communicate with her clone in San Francisco; soon there are a half dozen of her. On the same program, Caspar Stracke?s Afterbirth (1995).