Art Nerds and Band Geeks (Sat., Jan. 21, 9 p.m., $7, Vox Populi Gallery, 1315 Cherry St., fourth floor, 215-568-5513) DIY meets DIY in this Small Change show, which pairs hand-drawn animation with live punk rock. The out-of-town talent is Brent Green, a 26-year-old artist whose homemade shorts are assembled in a barn in Cressona, Pa. In a strangled yelp which bears a passing resemblance to the Mountain Goats' John Darnielle, Green proclaims his warped fairy tales with a certain desperation; the latest, Hadacol Christmas, is the story of a cough syrup-addicted Santa. Green's artwork lets the seams show with a vengeance; backgrounds are drawn with marker, the individual cel fragment visibly taped on top. Although Green's recorded soundtracks typically feature the dissolute country of Califone, he'll be backed on Saturday by Dischord all-stars French Toast, featuring James Canty (Nation of Ulysses/The Make-Up) and Brendan Canty (Fugazi).

Representing Philadelphia are Juliet Wayne, accompaniment by Bulkhead (with the tantalizing promise of "live hula-hooping") and Space 1026's Andrew Jeffrey Wright.

Winter Soldier (Tue., Jan. 24 and Thu., Jan. 26, 7 p.m., International House, 3701 Chestnut St., 215-895-6542) Directed by a collective that included Barbara Kopple, this 1972 documentary records the previous year's hearings on U.S. atrocities in Vietnam—an unflinching catalogue of inhumanity that was denied a theatrical release until 2005. Organized by Vietnam Veterans Against the War (led by John Kerry, who makes a brief appearance), the hearings were a fleeting, and so far unequalled, examination of the destruction wreaked on both sides by the strain of an underjustified, objectiveless war. In the moral vacuum, obscenities flourish: One GI describes his tour of duty as a "hunting trip," while another recalls how his two Philadelphia buddies would compete to see how far they could throw prisoners from a moving plane. The parallels to the current occupation in Iraq are so strong they need hardly be drawn, especially when one soldier describes the chilling rationale for the murder of civilians: "Any dead Vietnamese is V.C., [and] any living Vietnamese is suspected V.C." Much as it indicts the war, Winter Soldier spares at least some of the individual soldiers, whose shattered nerves and tarnished souls are plainly evident.

Police Beat (Wed., Jan. 25, 9:30 p.m., Sundance Channel) Sure, Park City's nice this time of year, but if you don't feel like jostling Paris Hilton for screening space, the Sundance Channel has culled a few overlooked gems from past years' festivals for your home viewing enjoyment. Chief among them is this minor gem from last year's festival, directed by Seattle's Robinson Devor, whose previous film was the tone-deaf adaptation of Charles Willeford's The Woman Chaser. Drawn in part from a Stranger column by Charles Mudede, the film intersperses real-life crimes with the story of an African cop (Pape Sidy Niang) adjusting to life in the U.S. Some of Devor's crime-scene reconstructions are seedier than they need to be (there's a particularly nasty bondage episode) and, even for an impressionistic narrative, the film hangs so loose it almost unravels. But Niang's tortured stoicism is unfailingly moving, and Devor succeeds in finding perspectives that make the city's landscape seem strange and sometimes threatening. The vast gulf between Police Beat and The Woman Chaser indicates Devor is still looking for a style, but for a second feature by a virtual unknown, the movie placed surprisingly high in a number of year-end polls for the best undistributed film.