This compilation of Mexican experimental shorts from the 60s to the 90s focuses on the urban experience, which seems alienating and degrading when contrasted with the 30s avant-gardists? giddy appreciation of rural life. In Miguel Calderon's gritty fantasia Un nahual veracu (1994), a desperado (or perhaps a political dissident) is transformed into a junkyard dog and roams the squalid city streets until he's captured; Calderon's sarcastic use of music instead of dialogue is astute, but his melange of surreal images ends in cliche. Juan Jose Gurrola's Vicente Rojo (1964) is a portrait of the painter who left Franco's Spain in the late 40s and found wonder and inspiration in the industrial boom of Mexico City. Pola Weiss?s Mi cor-a-zon (1986) documents the Gestalt therapy sessions used to console victims of the 1985 earthquake (Weiss would later record her own suicide). Silvia Gruner's El vuelo (1989) deals with the filmmaker?s mixed emotions upon returning to Mexico City after years in the U.S and Israel. On the same program: Gregorio Rocha's Sabado de mierda (1987), a homage to Mexico City punks.