These short works by the Chicago-based filmmaker (plus two by Canadian artist Richard Kerr) exhibit creative notions about sound as well as space. The soundtracks are dense stereo mixes of natural and manipulated noises, which impart a sense of wandering around a strange environment; this is true of Milhorat’s work even when the images are abstract and lacking in spatial definition. L’Internationale (2007) opens with several minutes of a blurry gray screen and what sounds like a high-powered motor; the filmmaker encourages one to imagine his own subject matter, then reveals that the camera is inside a small plane, flying through fog into a serene, woodsy landscape.