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In CROSS-CUT--A BLUE MOVIE, Huot presents a minimal passage of intercutting between found footage of a hoochy-coochy dancer and a blue leader, organized as a pair of inversely related geometric progressions. The resulting film is amusing (because of the pun in the title, the speed of the editing, and the funny fast-motion shimmy of the dancer); highly rhythmic (both because of the intercutting itself, and because of the rhythms added by the dancer's movements, the flutter of dust particles on the blue leader, and the waver of scratch marks on the footage of the dancer); and formally interesting because of Huot's creation of a montage which so energetically goes nowhere.