Pablo Pijnappel's films explore the artist's family history but sprinkle it with a generous amount of fantasy and improbable intrigue.

The four films by the young Paris-born Brazilian - entitled 1921-1977, 1979-2002; Andrew Reid; Walderedo, 2006 (pictured); and The Dog in the Park - variously narrate the story of Pijnappel's grandfather, who fled Nazi occupied Germany and eventually settled in Brazil; Pijnappel's stepfather, who embarked on a series of absurd misadventures across Latin America and Europe; the artist's biological father, a depressive young artist who led a provisional existence in Tokyo; and a slide installation of drawings by the tormented artist as a child.

The first three films present a loose visual collage of found images, Hollywood movies and footage filmed by Pijnappel, while the family narrative itself runs parallel to the artist's attempts to film their stories (the latter includes irritable phone calls to elusive relatives on blacked-out screens)

Though occasionally amusing and haunting by turns, none of the films are particularly easy to follow. In addition, Pijnappel seems to parody a certain style of rambling documentary film-making where the pursuit of the elusive subject merely subjects the viewer to lots of footage of aeroplanes, trains and unidentifiable locales. Still, the films do manage to be more entertaining than your average home movie.

- Until June 15, Whitechapel Art Gallery, Whitechapel High Street E1, Wed to Sun 11am to 6pm (Thu to 9pm), free

Tel: 020 7522 7878
Tube: Aldgate East