In Northern Lights, events which threatened to supplant the 19th century Mid Western Scandinavian immigrants from their farms are inextricably wound around images of light, cold and bleak yet rich landscape in a hostile world. The film effectively transplants the cozy viewer onto a frigid plain that makes him shiver and gasp at the audacity and courage of a people determined to survive under the worst conditions. And yet not only do they survive, they develop a kind of weed-like tenacity that finds sustenance in the most unlikely places and makes us wonder wide-eyed at their ability to prosper. Theirs is a community threatened by powerful interests who would ride on the backs of those men and women who already bear the burden of an almost unbelievably heavy load. Through it all, we admire the beauty they have found, the simplicity of their tenacity, the magnificence of the Northern Lights in an already deep and mysterious sky. The people in this drama are themselves the Northern Lights who settled a region. This is film-making and storytelling at its best.

HEAT AND SUNLIGHT, winner of the Grand Prize at the 1988 Sundance Film Festival, explores the intersects of sexual obsession, jealousy and violence. The last few hours of a love affair between Mel Hurley (played by Director Rob Nilsson), a photographer traumatized by the Biafran War, and Carmen, (Conseulo Faust) his dancer girlfriend, is an improvised nightmare of fear and misunderstanding. Featuring the erotic still photography of Steve and Hildy Burns and ground- breaking music from David Byrne and Brian Eno’s My Life in the Bush of Ghosts.

In a futuristic desert hamlet, a ruthless town boss lynches a falsely accused Native American teen, setting the stage for revolt and a clash with a troubled, drunken sheriff.