Suara Welitoff’s brief films are sometimes so quiet, with such a graceful flow of color and movement, they are like strange floating paintings. Other times, it is the compact-ness of her vision that rivets viewers, as she zeroes in on small moments, heightening them with intensified color, destabilized focus, and idiosyncratic timing. Sometimes, she alters the images she uses so much, they become totally non-objective, working like Rorschach tests on the imagination. When she offers recognizable imagery, Welitoff seems to have an uncanny ability to pick particular visual moments that reflect both the intensely personal and the larger-than-life, iconic in one compelling image – boxers in the ring, Elvis on stage, sweethearts dancing, war planes swooping, a friend in conversation – and, through her quirky manipulations, she adds a level of abstraction and pure visual pleasure. Because the imagery she uses combines original footage with found and digitally altered images, the result often has an old fashioned quality as well – something about them is always at a bit of a remove, dated, or isolated.