With serial rhythms, a sinewy exchange between opposites and increasing intensity, this programme builds to a propulsive, ever-sharpening sense of the present. From a Russian documentary to moiré patterns, these works serve to heighten our viewing experience.

Adriana Salazar Arroyo’s Found Cuban Mounts(Costa Rica/Germany) uses excerpts from Fidel Castro’s “History Will Absolve Me” speech to determine her film’s rhythm, tracking in reverse the journey of the revolutionaries.

Filmed in grisaille with a sober eye, Alina Rudnitskaya’s I Will Forget This Day(Russia) is a wrenching portrait of waiting young women, whose decisions are not always willfully made.

John Price’s Sea Series #10(Canada) hovers at the brink of widescreen extinction as it ruminates on the recent disaster in Japan.

Joyce Wieland’s Sailboat(Canada) is a playful yet vaguely ominous haiku.

Rose Lowder’s on-going Bouquets series is among the major works of the past two decades. Filmed at various European ecological sites, Bouquets 11-20(France) vibrate with splendour inherent to the pleasure-pull of nature’s imperiled state.

Shot along the Bosphoros, Jonathan Schwartz’s frenetic A Preface to Red’s(USA)dense, field-recorded soundtrack colludes with the beauty of the images to overwhelm.

Vibrating frequencies emerge in a freshly blown-up 16mm print of Resonance (USA) by Super 8 filmmaker Karen Johannesen, who summons flickering force fields.

The latest triptych in T. Marie’s Optra Field series, Optra Field VII-IX (USA) focus on the diagonal grid are investigations into our own perception of perceiving.

Kevin Jerome Everson’s car-crushing Chevelleis a straight-up account of two GM cars put down to rest. Shot in Cookstown, Ontario, Chevelle (Canada/USA)embodies a working-class ethos while suggesting scrap metal’s potential to be art.