These recent films and videos by Chicagoans, mostly set abroad, create powerful feelings of displacement and loss. In the strongest, Taro's He His Him, the artist recites facts about life with his brother in Japan; the dead-on view of him acquires an obsessive intensity as we infer that the brother is mentally ill. In Amie Siegel's Pasang Naik, images shot in Asia are separated by fade-outs, giving the tape a disconnected, dreamlike flow. Apichatpong Weerasethakul's Thirdworld pairs distant urban images with disembodied voices conversing; the result is poetic, if somewhat obscure. In Curtain of Eyes filmmaker Daniele Wilmouth and Japan?s Saltimbanques Butoh dance troup create a dance specifically for the camera, with movements composed for the frame and shots intercut to the dancers' rhythms—effective, but also marred by self-conscious preciousness. Sarah Jane Lapp's Mimo, which uses emotional voice-overs in its account of Jewish life in Prague, is an inarticulate mess.