"Just how much can one man take?" [SFU 74/75 Film Workshop Showcase program]; "I can't quite pinpoint why but this film felt stiff and nervous, part of it was some rather stilted acting from Richard Ouzounian, with lots of long pauses. There was some good photography. The opening scenes of the film were very effective, black and white still shots showing the brother as he is released from prison are interspersed with quick color cuts of the former inmate going into an arcade. There is also a fairly well paced chase scene, as an unknown gunman pursues a janitor via ancient elevators. The movie attempts to show the build up of fears which culminate in the madness and defeat of the inmate's business man brother, but doesn't quite succeed because of the inadequacy of the acting, trite dialogue and awkward scenes." [Handwritten notes (author unknown), 21 May 1975, in arrangement & description section of F-232 collection file]

"Generally I am not too keen on amateur dramas in film this one makes it [sic]. The woman who plays the principle character is an excellent actress who is very sensitive to the entire mood of the film. It is set in mid winter in the interior of B.C. in an old farmhouse in mid winter [sic]. The husband leaves the woman alone for the day though she protests that a blizzard is coming. He says he will stop by a neighbour‚ and ask him to drop by, as he may be late and don't wait for him after six. She spends the day painting the bedroom door and in the evening attempts to bring the cows in despite the severe storm. The neighbour drops by and she makes supper, setting 3 places. The sense of isolation and fear of the storm is evoked through long silent scenes of the woman‚ Äôs face, the empty plate, the drab room. The house is well chosen, old and dark, furnished in early depression. The neighbour seduces the woman. She awakens in the middle of the night to a vision of her husband covered with snow, standing at the doorway. She decides that it must surely be a dream. The next morning we see her racing through the snow to her husband's body which lies at the gate. His bare hand is marked with fresh paint." [Handwritten notes (author unknown), 21 May 1975, in arrangement & description section of F-232 collection file]; "Adapted from the Sinclair Ross story, The Painted Door." [SFU 74/75 Film Workshop Showcase program]

"A man comes to a door, which to the initiated definitely belongs to Simon Fraser University. The door is unlocked to reveal someone who has hung himself – end shot on the dead face." [Handwritten notes (author unknown), 21 May 1975, in arrangement & description section of F-232 collection file]; "37 sec. (Blown up from Super 8mm)" [SFU 74/75 Film Workshop Showcase program]. Part 1 of Concrete Mountain Chronicles (see "Three Three Six/'336'").

"'Bizarre and listless emotional traumas, compounds of jealousy and boredom, worrisome smells, all flourished in the lush atmosphere of anonymous gloom, and no eye contact. What you see is what you can't get, and for which you go rotten. Our hero is one of millions'" [SFU 74/75 Film Workshop Showcase program]. "A 'drama' about a young man who goes to the movies and has a series of erotic fantasies about the young woman selling tickets." [Handwritten notes (author unknown), 21 May 1975, in arrangement & description section of F-232 collection file]

Won second place in the Scenario Category at the 8th Canadian Student Film Festival in Montreal in 1976.

"A person parks his very disreputable looking car in underground parking and gives it a swift farewell kick. He returns to the spot only to find that the car has disappeared. The car comes up behind him and takes its revenge." [Handwritten notes (author unknown), 21 May 1975, in arrangement & description section of F-232 collection file]. Part 2 of Concrete Mountain Chronicles (see "Exit").