Through the years, Hoffman’s films have built upon a dialogue of personal history and memory. His films bring together formal strategies that encompass both the conceptual and the accidental. Somewhere Between Jalostotitlan and Encarnacion (1984), passing through/torn formations (1988), ?O,Zoo! (The Making of a Fiction Film) (1986), and river (1979-89) negotiate this developing sense of the daily process of living loss and integrating a multiplicity of meanings of death into everyday life.(Maïa Cybelle Carpenter)