Cinematic responses to the characters of private and open spaces. Sunset Boulevard (1991) by Thomas Korschil offers a formalist view into the isolated world of commuters; Lisl Ponger’s Semiotic Ghosts (1991) creates a tapestry of symbolic meaning from images recorded in wildly different locations; Hans Scheugl’s The Place of Time (1985) is an elegant meditation on our ephemeral grasp of objects and places; 31/75: Asyl (1975) is Kurt Kren’s magical fragmentation of a bucolic scene; and Peter Tscherkassky’s Motion Picture (1984) and Sabine Hiebler & Gerhard Ertl’s General Motors (1993) explore distinctive flavors of old movie images.