Tom Kalin's (Swoon) journeyistic collage of speeding images caught fieetingly from the window of a passing car, in the landscape glimpsed from the compartment of a tram, on the elusive sun-reflecting ripples of the sea employs a warped video-clip aesthetic in its revelation of the fleeting and skating visions of the transient. Within, the fixed image itself becomes nomadic, melding with Brian Eno's propulsive score (Third Uncle) and barely pro­ducing an anchor upon which to hang the film.