The three works on this program were all made by students or faculty of the School of the Art Institute. Amie Siegel's 45-minute The Sleepers presents a stunning and provocative nocturnal view through the windows of apartment buildings, yet the sound track, whose noises might have occurred during the shooting, creates the illusion that we're viewing a single space. Partially dressed figures and the tension of not knowing what comes next implicate the viewer as voyeur; the end result is a kind of city symphony of peepholes, but it's undermined by sloppy structure, as if Siegel thought the footage alone were enough. Thomas Gosser's superb video In Its' Own Ink (1998) presents hand-processed Super-8 that oscillates between images of a human figure and abstractions, its indeterminacy much more unsettling than Siegel's window tease. Shellie Fleming's Life/Expectancy, an earnest and well-intentioned stab at depicting “a woman's midlife search for meaning,” is cluttered with printed and spoken texts and fails as cinema.