Disruptions of order are nothing new in the avant-garde, but several of these eight films are true originals, and the most ordinary looking, Ben Russell’s The Quarry (2002), proves to be the weirdest. Aside from one intertitle, it consists of nearly identical static shots of an Easter Island landscape; in the foreground, flowers sway in the breeze, but with each passing minute the hill in the background seems more ominous. In Ablution (2002), Eric Patrick uses time-lapse photography to create an affecting meditation on loss of identity in the face of an accelerating world: as shadows race by, a man sitting on a porch seems to vanish into a blotch painted on the film. In Outline, Sandra Gibson makes effective use of 35-millimeter ‘Scope, her semiabstract images offering enticing labyrinths, and in River, Jean-Claude Bustros rephotographs Marlon Brando’s 1961 feature One-Eyed Jacks with video breakup that undercuts the stability of the close-ups. 78 min.