FIPRESCI Prize
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The Time We Killed2004
The 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 back in." Reeves freely intersperses lyrical flights and a surprisingly mordant wit in her month-by-month chronicle of the central figure’s unraveling agoraphobia. At times suggesting an even more cloistered REAR WINDOW in which all is heard rather than seen, the film also recalls Alain Robbe-Grillet and Marguerite Duras' minimalist novels. Incorporating Reeves' own home movies and a brilliantly dense sound collage, THE TIME WE KILLED reveals the multiple valences of what is sometimes unthinkingly called the burden of memory. A shorter (six minute) version of the film was featured on the Cinemad Almanac. - Max Goldberg
Recognition
What makes this film worth watching?
Official selection of the 2006 Whitney Biennial.
Member Reviews (2)
top reviewer
'I only dream of the lovers i might have had & never did'_i totally love this film_beautiful wonderful powerful totally amazing & real_i'll see it again_Jennifer Reeves did a great job _i'll check out her other films_really liked the actress writer lover too_so great
top reviewer
I greatly enjoy Jennifer Reeves' short films ("Trains are for Dreaming" is one of the most magical things for me on Fandor). This feature length film has a similar approach to the relationship of sound and image, with the addition of a portrait of an artist (the central character, Robyn). The central problem is how the artists copes with the intrusion of the external world, whether 9/11 and its horrible aftermath, the noises of neighbors, or the intrusion of memory.