Vivienne Dick's first film after the New York series takes her back to her native Ireland. Using Super-8 film as a parody of the 'travelogue' or home-movie style film, Dick takes a expatriate, tourist look at her homeland. The narrative follows Margaret Ann Irinsky as the American tourist trekking from a Dublin populated by Hare Krishnas and rock music, to the horse-drawn carriages in the west of Ireland and the kissing of the Blarney stone. The quaint perception of Ireland and the Americanization of the native culture are contrasted with interviews from sectarian prisoners and footage of political marches. As in all her work, Dick uses a mixture of veritÃ© shots which capture the essence of the locality and intersperses them with images which have a totally different feel. This method is used to highlight issues in a subtle way wherein the camera takes an active rather than a voyeuristic role.
Angelos Kreouzis (Nikos Kourkoulos) survives a shipwreck and reveals to the committee in charge that the disaster was not an accident, but the consequence of the neglect of the ship by those responsible.
Celestial Night is a film on visibility and questions what it means to see. It is a film about what is invisible apart from the imagination: Celestial Night is a film dealing with this vital power, the ability to envision. It is a search in present day Japan for the mythical Japanese Emperor Amayonomikoto who was blind, and the story of a time when seeing was not believing.