the Finnish reality while depicting survival in a world constructed by men. Näsänen has characterized some of her works as ‘feminist road movies‘. Time and nature are key elements in her works. Time is strictly connected with images and the works seem to have an autonomous time dimension. "The Spell" and "Round", premiered in the same exhibition in 2011, have been seen to reflect two different approaches to time. In "The Spell" a group of people have fallen asleep in the middle of a party while “time ticks by slowly but surely, like the timeline of modern western society”. The two-channel video installation "Round" shows the same series of events experienced in parallel by a female and a male actor. Time seems to stand still and the recurring sequence of events “corresponds to the cyclic concept of time of many early and eastern religions and cultures”. Despite the scant action there is ”strong cinematic tension” where “time becomes condensed”. Nature has more than a secondary role in her works and sometimes seems to dominate the image and the characters. In non-narrative works nature has a central role or the focus is on the relationship between humans and the nature.“Maybe Elena Näsänen here revives a contemporary view onto the sublime other: Nature as it has become the unfamiliar other for us city dwellers. Only virtually controlled by infrastructure as in "Drive" and exploited by tourism as in "The Mountain", or endangered by industrial exploitation ("Wasteland"), nature still holds a mystery. This mystery may be contained by the Australian outback, the Chinese yellow mountains, or the Finnish landscape.” Works in exhibitions, screenings and collections Elena Näsänen’s works have been widely shown in Finland and internationally, lately at film festivals in France (2017), Spain (2017), Germany (2017), Korea (2015) and Turkey (2014), in screenings of Finnish video art in Uruguay (2018), United Kingdom (2016), USA (2016), Norway (2013) and Brazil (2013), in a group exhibition in Korea (2014) and on a tour of five countries of the exhibition “Bodies, Borders, Crossings” (2011–2014). In Finland her videos have been shown for example in a selective retrospective of media art projects funded by the Promotion Centre for Audiovisual Culture Finland AVEK over 30 years (2017), in a premiere held in the gallery of the Alvar Alto Museum (2013) and in a joint exhibition of three Finnish video artists in Helsinki Kunstahalle (2007). Her videos have