Nelson, a Swedish filmmaker, spent several decades in the U.S. before returning home a few years back; her earlier films are chaotic, almost trippy, while her later works are formally precise. In the much-praised My Name Is Oona (1970), she creates a lush portrait of her daughter, the name “Oona” repeated on the sound track. Take Off (1973) depicts a stripper in flickering light before placing her, in a bizarre near deification, among the stars. But in the superbly measured Frame Line (1984), Nelson personalizes postcard views of Stockholm, showing how the mind can alter them: we see the city in moving images, in photographic stills, in photographs whose images start moving, and as pieces of a jigsaw puzzle. The long takes of Time Being (1991), by contrast, wrenchingly convey the stasis of Nelson's ill mother.