By its fourth edition, the Festival was fully integrated into the Brazilian art scene, having become a pivotal space for video screenings. The competitive exhibition attracted the largest number of applicants to that date. Experimental videos and documentary films were the highlights (taking the spotlight away from fiction), with productions that lived up to international trends of the time. Prizing was split into two categories: VHS and U-Matic. Back at Museu da Imagem e do Som (Museum of Image and Sound), the Festival featured an extensive, never-before-seen parallel programme, bringing in art work from Germany, Canada, France, and England, plus 80 United States productions. The museum was literally wrapped up by artist José Roberto Aguillar, in a performance that payed tribute to Bulgarian artist Christo.