The aftereffects of political violence, financial ruin, and other disasters (both natural and manmade) have been the subject of French artist Eric Baudelaire’s films, videos, and photographs for more than a decade. Yet none of his work is strictly, or even superficially, documentary, and all of it seems to be in dialogue with the high formalism of several major and minor figures in the history of art, literature, and cinema. Baudelaire consistently flirts with the aestheticization of conflict. He risks turning the wreckage of war into images that are beautiful, melancholic, or sublime. But there