After a twenty year period of multiple illnesses and injuries, the filmmaker turns the camera on herself as a way to analyze her chances for a happier, healthier life. In the process, she captures the frustration, tedium and petty annoyances of a revolving-door relationship with the medical establishment, while portraying the complicated web of emotions that accompany any medical problem. With humor and honesty, The Odds of Recovery uses the filmmaker's medical history as a means to address a perennial human problem: the desire to avoid conflict and deny the need for radical change.

In Seeing Red, three elements run parallel, overlap, diverge, lock horns and in various other ways give voice to the notion that a color, a melody, or a person has multiple characteristics that cannot be grasped by, or understood within, a simple framework. One element is purely visual. One is very verbal and minimally visual. One is purely musical. So is red the color of a fire truck or a ruby, of rust or a rose, of blood or a brick? How fixed is a melody if it can be twisted, stretched and shaken to the point where we no longer recognize its original form? And when we "see red," what color is that exactly? What aspect of passion are we feeling? Are we looking outward and seeing injustice and cupidity, or looking inward at our own limitations and failings?

GENTLY DOWN THE STREAM is constructed from fourteen dreams taken from eight years' worth of my journals. The text is scratched directly on to the film so that you hear your own voice as you read. The accompanying images of women, water, animals and saints were chosen for their indirect but potent correspondence to the text.