The '90s were a tumultuous decade. With the threat of an oncoming millennial revolution (which never took place), all facets of American culture encountered identity crises concerning their roles and purposes in the future. But within the mind of every man and woman in every corner of the world, all imaginable risks and dangers disappeared into nothing. Those minds lived daily on creative inspiration found in the most commonplace bits of life.

Alas, those minds created what common folk call student films. But in truth, they are gateways into the crazy imaginations of Generation X. In the newly released conglomeration "The Loft Tapes," one sees the Seinfeldian minutiae that dominated the 1990s.

The 110-minute videotape, available at the bookstore, begins with the film "Eat, Mate, Die" by Brent DiCrescenzo and M-K Kennedy. The film takes a look at the future of humanity, presenting a monotonously doomed world in which all that people do is eat, mate and, of course, die.

The nonchalance of the inhabitants of this world allow them to take a jog over countless dead bodies and discuss the "Star Wars"-ian nature of humanity while burying bodies at the beach. Eventually, the mildly sarcastic tone of the piece prepares viewers for the rest of the student films to appear on the videotape.

In Brian Faiola's and Kevin Loncar's "Lungwamen," a young boy who feels a primordial urge to find his Native American roots becomes a legend among his Native American peers. What first seems to be a coming-of-age narrative, though, soon becomes a critique of and explanation for the current state of various Native American economies, which rest largely upon casinos.

The film has a storybook quality, making its initial attraction understandable. But soon the lack of a consistent tone — is it serious or mocking? — makes "Lungwamen" just another student film.

"The Loft Tapes" does not get into its groove, really, until its eighth film, Jennifer Crescenzo's and Jim McNamee's "Full Frontal Nudity," which is perhaps the most provocative film in the collection.

The film opens with a female voiceover speaking about the trials and tribulations of being a nude model for art students. Simultaneously, one sees a screen behind which someone — perhaps a female — is stripping in preparation for a session.

Suddenly, though, viewers realize that the nude model is a man.

The juxtaposition of the male body and the female voice was indeed a surprise. The effect was that a female sensitivity was given to a sometimes insensitive subject — the male body. Despite the awkward presence of, as the title of the film warns, full frontal nudity, the film succeeds in making an emotional connection with viewers. In this case, one realizes the sacredness of the human body, in all forms, and the often absurd preoccupation Americans have with nudity.

The final seven films of the collection continue what "Full Frontal Nudity" begins — a look at the diverse nature of mankind's thoughts, fears, likes and dislikes. "Restroom" acts as a teaching tool to those interested in everything having to do with lavatories. Using various scenes from a "Leave it to Beaver" dinner to a Mafia shoot-out, the film humorously but effectively brings the bathroom into American social prominence.

Addressing a more serious subject through lighthearted teen angst, "Pocket Guide to White Youth" flashes through various sequences of typical American teenagers. But when the film spirals toward its attack on suburban race relations, it strays from the "Dawson's Creek" it tries to be and advances toward the "American History X" it becomes. Well, perhaps it is not as dramatically heavy as "X," but it does prove to be a smart commentary on "White Youth."

Perhaps the wackiest of the 15 films, "Leather Coat" at first glance looks to be another social commentary on the dreary subject of homelessness. But it quickly becomes a farcical enjoyment that puts into question the motives of those advantaged Americans who at all costs try to help the disadvantaged. But like "Pocket Guide to White Youth," the film ends bravely, with the goodness of good will winning out over the cynical nature of life in the '90s.

Finally, "Love Dad" takes a look at dads and their unwillingness to show their love for their kids, especially their sons. But instead of some mother-daughter melodrama on the lines of last fall's "Anywhere But Here," "Love Dad" is a slapstick comedy that allows teenage boys to kidnap their parents, torture them and ultimately kill them. But it's all fun and games.

• Student players present 'Jeffrey'
  
• FTT's 'The Loft Tapes' showcases ND's student films