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Jennifer Reeves – short films 2

90’

Chronic

USA 1996 / 38’

director:Jennifer Reeves
screenplay:Jennifer Reeves
cinematography:Jennifer Reeves
editing:Jennifer Reeves
cast:Jennifer Reeves, Noelle Kalom, Barbara Lee, Bill Bronson, Jeanne Liotta
producer:Jennifer Reeves
production:Sparky Pictures
sales:Jennifer Reeves
awards:Oberhausen ISFF 1997 - nagroda FIPRESCI, nagroda główna / FIPRESCI Prize, Main Prize, New York ISFF 1997 - najlepszy film / Best Film
language:English

Chronic is an experimental diary of growing up, a fear-filled story about searching for identity in a world of violence. This film is a sort of introduction to The Time We Killed. Rape, pregnancy, disappointment in love, the constant proximity of a potential suicide, inner rebellion and anxiety related to the powerlessness of the female body will drive Gretchen to a psychiatric hospital. There, and then in the big city she would live, fascinated with various versions of femininity, she will find new friends and lovers.

Elations in Negative

USA 1990 / 5’

director:Jennifer Reeves
screenplay:Jennifer Reeves
cinematography:Jennifer Reeves
editing:Jennifer Reeves
producer:Jennifer Reeves
production:Sparky Pictures
sales:Jennifer Reeves
language:no dialogue

A bloody adaptation of a poem by William Carlos Williams, American modernist and imagist. For Williams, poetry was a field, a pure surface where poetic image is placed with lucidity and precise detail. In a transgressive style, Reeves responds to questions he asked in the poem.

Fear of Blushing

USA 2001 / 5'50’

director:Jennifer Reeves
screenplay:Jennifer Reeves
cinematography:Jennifer Reeves
editing:Jennifer Reeves
producer:Jennifer Reeves
production:Sparky Pictures
sales:CFMDC
language:English

Extraordinary colours and corroding images in one, fear of speed and fascination with the elusiveness of change. Shame and pleasure. Abstract experiments by Jennifer Reeves can be interpreted by hints in their titles. The director creates a disturbing space of images and sounds, combining shapes, recurring voices and deformed musical themes into astonishing configurations.

Girls Daydream about Hollywood

USA 1992 / 5’

director:Jennifer Reeves
screenplay:Jennifer Reeves
cinematography:Jennifer Reeves
editing:Jennifer Reeves
producer:Jennifer Reeves
production:Sparky Pictures
sales:Jennifer Reeves
language:English

A collage of fragments of an emotional landscape, where TV programmes overlap with chats in bars and recollections of a rape mixed with unnamed fantasies. An attempt to reconstruct events which keep falling apart. This is not the first time when complexity and vagueness has triumphed in Jennifer Reeves' films.

Light Work Mood Disorder

USA 2007 / 27’

director:Jennifer Reeves
screenplay:Jennifer Reeves
cinematography:Jennifer Reeves
editing:Jennifer Reeves
music:Anthony Burr
producer:Jennifer Reeves
production:Sparky Pictures
sales:Filmmakers Cooperative
language:no dialogue

Development of issues touched on in Light Work I. A film screened in double projection, often as a live film and sound performance, illustrated by the experimental electronic music pulsating with variable rhythms, composed by Anthony Burr. The subject is still the disturbing imperfection of the archaic 20th century technology confronted with organic forms, worlds of genetic mutations on one hand, and the digital nature of the 21st century on the other.

 Agnieszka Szeffel

We Are Going Home

USA 1998 / 10’

director:Jennifer Reeves
screenplay:Jennifer Reeves
cinematography:Jennifer Reeves
editing:Jennifer Reeves
cast:Deirdre Logue, Veronica Disanto, Jennifer Reeves, Joey Lee
producer:Jennifer Reeves
production:Sparky Pictures
sales:Jennifer Reeves
awards:Ann Arbor FF 1999 - Film Coop Award
language:no dialogue

A film made in the summer of 1997 at an experimental film farm in Ontario, owned by the director Philip Hoffman. We Are Going Home is a homage to his untimely deceased partner, director and author Marian McMahon. This is a recording of an unrecognized desire, overlapping poetic visions experienced by three women. Manual processing of the 16 mm film transformed the real images of the country into an internal landscape.