This program of short works offers a broad overview of avant-garde filmmaking in Argentina from the mid-1970s to the present. All the ones I previewed were abstract, drawing attention to such formal properties as camera movement and celluloid texture. Jorge Honik’s Passacaglia y Fuga (1975), one of the more accomplished films, uses the same tracking movements to present a range of subjects, from a shoreline to a bookshelf, and suggests an animated scroll painting. (Intriguingly, it climaxes with the image of an unscrolled Torah). Most of these shorts were shot on Super-8; as curator Pablo Marin explains in his program notes, this cheap, consumer-grade technology allowed experimental filmmakers to work underground during Argentina’s military dictatorship.