What's the connective tissue between Michelangelo Antonioni's youth-revolt meditation Zabriskie Point and Stanley Kramer's slapstick lollapalooza It's a Mad, Mad, Mad, Mad World? More than you might imagine, in Daniel Kremer's provocative essay, in which he ties together his youthful obsession with both films. The history of Death Valley in cinema, the rapid change of the 1960s, and more are brought to the fore. It's a mix of the personal - Kremer includes documentary footage of himself as a child, coping with a severe speech impediment - and the aesthetic - Kremer's observations have an understanding that reflect his own history as a filmmaker. Compelling viewing, no matter how you feel about either the Antonioni or the Kramer.