A daily record of one year at Mount Battie, Maine. It is a record of the seasons, the changing light from dawn to evening, sunrise and sunset; the changing weather from bright sun to overcast skies, fog, rain and snow; and the changing visitors that come by foot, bicycle, motorcycle, car, truck and camper to make a pilgrimage to the mountain vista that overlooks a small harbor on the coast of Maine, the North Atlantic coastal islands, and the expansive Atlantic Ocean.

THE WINTER THERE WAS VERY LITTLE SNOW is a visual mood poem using the barest narrative form to convey the feeling and time of crisis for a man in middle age. His marriage has collapsed; he is without a job; and his father has just died. There is no reality, only an indistinguishable mixture of images and moments drawn from some space in time that could be his past, his present, or his future.

THE WINTER THERE WAS VERY LITTLE SNOW is a visual mood poem using the barest narrative form to convey the feeling and time of crisis for a man in middle age. His marriage has collapsed; he is without a job; and his father has just died. There is no reality, only an indistinguishable mixture of images and moments drawn from some space in time that could be his past, his present, or his future.

Someone attempts to find Oobieland. The realm of artificial sound encountered in the first film (INTRODUCTION TO OOBIELAND) is left behind; there is a terrible silence. The television studio of the second film (UBI EST TERRAM OOBIAE?) is also left behind; big trees and snow populate the visible world in SOLSTICE. Somewhere a boundary is crossed; the viewer is caught up in a cycle of meetings with strange inhabitants of that short space of time we call winter solstice.

The film begins with abstract images of continuously changing in color, shape and texture. Slowly it reveals the source and real identity of the original subject-matter, and in so doing has transcended the abstract world for reality. Yet, they co-exist. Time lapse video clips form the basis of this work.

A short animation based on the drawings of an elephant and a giraffe by the filmmaker's seven year old daughter Anna.

The film is an improvised story about a young man who meets a young woman in a public place. He attempts to establish a friendship. This situation is played out three times, each time with different characters and different actors in different locations. What occurs unfolds differently with each story. In each situation the actors don't know each other. They respond spontaneously as they create the dialogue and the narrative.

The film is an observation of activities in Maine. One Town, Portland is celebrating "First Friday Art Walk" where people go to the museum and art galleries. The second town, Belfast is celebrating the boat launching of three rebuilt sailboats. By using a small digital camera, people are canidly recorded talking and eating at a restaurant, viewing artwork, and just walking about town.

In the kitchen of a Vermont farmhouse, four people come to sit around a table. The silence of solstice holds them together. Before a ritualized meal they each tell a story. Their stories are ominous, yet, as in the first OOBIELAND film (INTRODUCTION TO OOBIELAND), they are incomplete. Earlier, the titular mother has passed on her powers to a young woman. At the close of the film, this young woman enters the farmhouse and, with final simplicity, restores the old order.

Part five, EPILOGUE TO OOBIELAND is a 40 second animation punctuating the entire series much like a period ends a sentence. All together the five parts exhibit an array of techniques in animation, live action theatrical presentation and sound.