On May 4, in an event co-sponsored by the Jewish Federation of the Quad Cities, the Figge Art Museum will host the screenings of a feature-length documentary and seven shorter works, all of them by award-winning Israeli filmmakers. Yet if the you enter the Video Art from Israel: A One-Day Sensory Experience presentation with preconceived notions about the films' collective subject matter - anticipating explorations of Israel's foreign policy, say, or the country's ongoing struggle with Palestine - you're likely to be in for a surprise or two. Or eight.

When it comes to the films and individuals that win Academy Awards, it's easy to get defensive, and even a little pissy, about voters' collective choices. "How could those people ever vote for ______," you find yourself asking, "when ______ is so obviously better? Don't they have any integrity at all?!"

Heading toward January 16's announcement of this year's Academy Award nominees, I think it's safe to say that we know a few things.

We know, for instance, that it'll be a big day for 12 Years a Slave and Gravity, and most likely for American Hustle. We know the Best Supporting Actor category (which, last year, was populated entirely with previous Oscar winners) will be top-heavy with relatively new talent, and the Best Actress category (which, last year, was top-heavy with relatively new talent) will be mostly, perhaps entirely, populated with previous Oscar winners. We know members of the Academy's music branch will throw some loopy, out-of-left-field choice into the Best Original Song lineup, because they always do.

And we know, come January 16, that some incredibly worthy titles are going to get royally screwed.

In 2010, at the age of 67, Roger Ebert reviewed The Human Centipede (First Sequence) ? a horror flick that seems to exist primarily to make viewers vomit. As a professional movie critic for more than four decades, Ebert could have been forgiven for skipping it altogether. Curt dismissal was another perfectly reasonable option.

A charitable senior-citizen writer might have picked the movie apart on moral, narrative, or aesthetic grounds, or used it as a launching point for a screed against the depravity of contemporary culture or the torture-porn genre.

But Ebert turned in a no-star-rating review that begins with an earnest rumination on the path to mortality: "It's not death itself that's so bad. It's what you might have to go through to get there." And he says that within the writer/director, Tom Six, "there stirs the soul of a dark artist."