Personally Speaking, ‘Exchange’ Is Uneven

Most of the short films screening in “Exchange Value: Production and Acquisition” tonight at the Huntington Beach Art Center dwell on economic inequality--the haves vs. the have-nots--but the best of them are more personal in thrust.

The 80-minute, seven-movie program, put together by L.A. Freewaves, a Los Angeles-based arts group, first shifts from the historic fight between the exploiting ruling class and the exploited worker with Steve Matheson’s 15-minute piece, “Stanley.”

The lead character is an odd fellow with a strong interest in tools. His collection is huge, and the audience learns that Stanley has spent almost an entire lifetime searching for the smallest of screwdrivers to the largest of lug wrenches.

But this isn’t a harmless hobby. As Stanley holds his tools in front of Matheson’s ever-moving camera, he asks repeatedly if the viewer has ever considered suicide. If so, what would be a good implement to get the job done?

The tools begin to look like items from a torture chamber: A hammer seems ideal for bone breaking, and that huge pincher thing could crack a skull in seconds. When Stanley starts rambling about his real or imagined stints in shadowy wings of the government’s secret service, this little film becomes very spooky.

The longest movie, and the most satisfying, is Eric Saks’ evocative and stylish “Touchstone.” It’s a 30-minute excursion through a hipster’s mind as he travels the country looking for vintage records to sell later for big profits.

Saks creates an experimental journey by using all sorts of artistic imagery in his animations. Computer-generated scenes mix with still photography, which, in turn, give way to snippets of video footage. All the while, Saks drones on insinuatingly about sex, the road, money, fixations and, of course, old vinyl. At the top of its form, “Touchstone” is a mesmerizing pastiche.

The shorter flicks with socioeconomic messages are less involving. The positions--arguing for a fairer distribution of wealth--may make sense. But even when such ideas are wryly offered, these films stumble into preachiness.

“Manifestoon,” a 10-minute work by Jesse Drew, recites the communist writings of Marx and Engels against a quick-cut backdrop of cartoon characters. While we hear about the nasty bourgeoisie and the lowly proletariat, we get to see Fred Flintstone, Mr. Magoo, Daffy Duck, Mickey Mouse and others in scenes of hard labor.

“Uneasy in South Central,” Antonio Ogaz’s 10-minute documentary, criticizes USC, arguing that the university is insensitive to the adjacent South-Central L.A. neighborhoods and is doing little to try to improve life there. Ogaz also charges that USC takes advantage of its many minority employees and shows footage of protesters being carted away by hostile campus police.

Are Ogaz’s points valid? It’s hard to say, but one thing is clear: The filmmaker’s narrow approach is a major weakness. One or two interviews with USC officials to get their viewpoint would have made a big difference.

* “Exchange Value: Production and Acquisition,” seven short films, screen tonight at the Huntington Beach Art Center, 538 Main St., Huntington Beach. 8 p.m. $2-$4. (714) 374-1650.