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The light of Vermont, with its own texture, minutely unique to everyone, is refracted across three films by filmmakers embedded deeply in its glow. These films represent ‘documentary’ in the broadest, most essentially evocative sense. Seeming translucent, Nature’s Optical Toy spins through the visual delights of a Spring morning. Man of the Land proves that preserving an endangered mode of living is as complicated as baling hay. Susan Bettman crafted a supreme example of audio-visual ethnography, encapsulating the fleeting brilliance of an increasingly rare man like Joe Picard. It is a mode of documentation that vanishes daily even as our need for it skyrockets. Self taught, Rich Fedorchak may be the quintessential experimental filmmaker of a purely Vermont ethos. His film, an epic distillation of years of living and breathing in the Upper Valley, demonstrates, perhaps more than any imaginable piece of art, how necessary it is to live, not just to breathe.