A young woman who has just started a job at an art museum writes an email to a friend she lived with until recently. The other woman, also young, works as an artist and has just moved to a new city. A narrator reads this email, but we don't know which of the two women the voice belongs to, whether to the sender or to the receiver of the message. Neither are we aware of the details of this relationship; but what we do know is that, in addition to their interest in art, they share a concern for the difficulties of carrying out their personal and professional lives in the present. By focusing on the peripheral or hidden details of some paintings in the Bilbao Fine Arts Museum, this narrator relates several stories linked to the social, economic and psychological conditions of the artists, both past and present.

A ship half the size of the Queen Mary, made of hand-tooled oak, lies frozen in a glacier on Mt. Ararat in northern Turkey. In this documentary, producer-director-actor Bart LaRue advances the theory that this ruined ship is Noah's Ark. LaRue became so obsessed with this theory that he risked his life to photograph every scrap of evidence he could glean, even bribing an entire company of Turkish soldiers on the Russian frontier to "look the other way" while he took a team of 17 pack horses and his film crew up the mountain. The legend of Noah and his magnificent ship has endured for centuries; now there is scientific proof that the legend is indeed reality. Now you can decide for yourself. Is this the real ARK OF NOAH?

In an experimentally compiled film review, Danielle Jaeggi, Paule Baillargeon and Claudia von Alemann reflect on their work as filmmakers and life as mothers. Just as the title is based on Michel Leiris' book of poems Bright Nights and Many a Dark Day, the film has its own poetry, which is also evident in shots of everyday activities, such as hands washing dishes. “Just the hair or the relationship of the hands to each other or gestures, and then words come in between and film clips that we talk about, and we were amazed to find that the women we portray in the films always have a lot of trouble with theirs Identity, their search for something, for lost people or lost things. “They are usually looking for something that has been lost, forgotten or gone,” said Claudia von Alemann in the 1992 interview conducted by Renate Fischetti, A Pioneer of Female Film Language. An essay about desire, doubt, contradictions. (fib)