An interesting comparison between the way light informs and sustains life in two separate worlds of experience: the neural decoding of a viewing eye and the chemical transformation into floral...
Reeves has made experimental films since 1990. She does her own writing, cinematography, editing, and sound design. Her subjective and personal films push the boundaries of film through optical-printing and direct-on-film techniques. Reeves has consistently explored themes of memory, mental health and recovery, feminism and sexuality, landscape, wildlife, and politics from many different angles.
Since 2003 Reeves has collaborated with some of the finest composer/ musicians today, including Anthony Burr, Skúli Sverrisson, Elliott Sharp, Zeena Parkins, Marc Ribot, Erik Hoversten, Pitt Reeves, Hilmar Jensson, and Dave Cerf. As the daughter of a trumpeter, gravitating toward film and music collaborations was quite natural for Reeves. Her most ambitious film and music performance, the feature-length double-projection WHEN IT WAS BLUE (2008), premiered at Toronto International Film Festival with live music by composer/collaborator Skúli Sverrisson.
Reeves has also made a number of experimental narratives, most notably her highly acclaimed feature THE TIME WE KILLED. The Village Voice Film Critic’s poll (2005) honored THE TIME WE KILLED with votes from six film critics for categories including: Best Film, Best Cinematography, and Best Performance.
Reeves also teaches film/video/animation part-time at The Cooper Union and the School of Visual Arts in the Photography and Related Media MFA program.
The Girl's NervyJennifer Reeves rekindles the avant-garde tradition of frame-by-frame filmmaking with this spirited painted film. Sinewy fissures splinter the geometric confections and viscous pools of decaying nitrate are set dancing to the slightly warped sounds of Tommy Dorsey and Raymond...Subscribe to to watch now
The Time We KilledThe post-9/11 political situation is refracted through an isolated female subjectivity in Jennifer Reeves’ bold foray into narrative filmmaking. “Terrorism brought me out of the house,” says poet Robyn (Lisa Jarnot) in her winding voiceover, “But the War on Terror drove me...Subscribe to to watch now
Light Work ILIGHT WORK I is a haunting and impressionistic video that connects the industrial and medical transformations of the last century with the present day digital revolutions in music and movies and the implied demise of 16mm film. LIGHT WORK I sprung out of the immersive expanded cinema performance...Subscribe to to watch now
Trains are for DreamingJennifer Reeves writes that TRAINS ARE FOR DREAMING “condenses eight years of Super 8 film into a seven minute celebration,” and indeed its passing landscapes, sound transmissions, trips to the seashore and portraits of a grandmother all strike the viewer as an elusive and...Subscribe to to watch now
Such an incredible essay on the haunting presence of the inescapably tactile, chemical and moto-industrial nature of the "film stock" medium. An amazingly visceral memory of the medium's life.
Oddly mesmerizing! View it full screen from a distance on repeat, I dare you.