Doors 7:30p
Program 8:00p
Tickets $12

UnionDocs
352 Onderdonk Ave
Ridgewood, NY

We’re thrilled to celebrate the release of a long-awaited Blu-ray collection and to spend the evening immersed in the fiercely tactile, deeply personal cinema of Jennifer Reeves!

Released in December 2025, When it was Blue: Jennifer Reeves Selected Works 1992–2022 arrives as a vital gathering of Reeves’ singular body of work, and we’re honored to mark the occasion with a program of shorts spanning her practice, moving across decades, formats, and states of transformation. For this special presentation, we’ll be screening the shorts in a hybrid format, presenting the shorts half on 16mm and half digitally, creating a rare opportunity to experience Reeves’ work across the very material conditions that shape it.

Working primarily in 16mm, Reeves approaches filmmaking as a materially intensive, almost alchemical process, where the image is not just captured but physically altered, distressed, and reimagined. Across these films, Reeves’ work pulses with emotional immediacy, tracing interior landscapes shaped by memory, perception, and the body. Themes of mental health, feminism, and ecological precarity emerge not as fixed subjects, but as shifting conditions that are felt, embodied, and in flux.

We’re so excited to share this program with first-time viewers and longtime admirers alike. Join us for this special screening and for a conversation with Jennifer following the program.

Come through!

Program

The girl’s nervy

16mm, 5 min, 1995

We are going home

16mm, 10 min, 1998

Fear of Blushing

16mm, 5.5 min, 2001

Landfill 16

16mm, 9 min, 2011

Strawberries in the Summertime

16mm-HD, 16 min, 2013

Color Neutral

16mm, 3 minutes, 2014

Pigment-Dispersion Syndrome

16mm-2K, 6 minutes, 2022

Girls Daydream about Hollywood

16mm, 4 min, 1992

Configuration 20

16mm, 11.5 minutes, 1994

Program Duration: 70 mins

Bios

Brooklyn film artist Jennifer Reeves (b. 1971, Sri Lanka) has made 25+ filmworks to date, from experimental shorts and features to multiple projection performances scored by live music. Reeves’ visceral 16mm film works immerse viewers in intricate, unfamiliar cinematic territory. They investigate themes of mental health and recovery, feminism and sexuality, and the beauty and decay of the natural world. A Blu-ray collection of 10 of her films will be released by Re:Voir Video late in 2025: “When it was Blue: Jennifer Reeves Selected Works 1992 – 2022”. The collection will be available for streaming in 2026.

Reeves started her life as a film artist in 1990 at Bard College under the tutelage of Peggy Ahwesh, Peter Hutton and Adolfas Mekas. Since 1990 Reeves has shot, written, edited, created optical effects, and designed the soundtracks of her film works: a veritable one-person production unit. Her singular cinematic works push the boundaries of film with optical printing anddirect-on-film techniques that involve painting on, sewing, and burying 16mm film.

Reeves premiered her most recent feature-length work, a dual-projection film performance of THE GLORIA OF YOUR IMAGINATION, at Berkeley Art Museum Pacific Film Archive in October 2024. She adapted THE GLORIA OF YOUR IMAGINATION into a single-channel Experimental Documentary to debut at the 51st Seattle International Film Festival in 2025. With support from residencies at Atelier 105 in Paris and Yaddo in New York, Reeves wrote, directed, and edited the project. Reeves has also presented “GLORIA” at Light Matter Film Festival, Arkipel International Documentary and Experimental Film, New Horizons Film Festival in Polandand Vassar College. In November, THE GLORIA OF YOUR IMAGINATION will screen at Kasseler Dokfest in Germany, and it will be featured at an international conference with Jennifer as a presenter “Misogyny Then and Now: Implications for Psychoanalytic Perspectives” co-sponsored by the Washington Baltimore Center for Psychoanalysis and the Committee of Women and Psychoanalysis of the International Psychoanalytic Association. This September, Reeves debuted her latest dual-projection work, LIFE IN DECAY, in a collaborative performance with the Iranian Sound Artist Farzané at Conflux Festival 2025.

Reeves’ many film awards include a FIPRESCI prize at the Berlinale, The Barbara Hammer Feminist Filmmaker Award at Ann Arbor Film Festival, Best New York Narrative Feature at Tribeca Film Festival, Outstanding Artistic Achievement at Outfest, and a nomination for the Someone to Watch Award at The Independent Spirit Awards. Comprehensive retrospectives of Reeves’ work have been hosted by the New Horizons Film Festival in Wroclaw, Poland, the San Francisco Cinematheque, Berlin’s Kino Arsenal, and Anthology Film Archives in New York City.  Reeves’ work has screened broadly, from the Rotterdam, New York, Sundance and Toronto International Film Festivals to the Museum of Modern Art, the National Gallery in D.C., the CCCB in Barcelona and at art cinemas and universities worldwide. Reeves has collaborated with celebrated composers including Farzané, Zeena Parkins, Marc Ribot, Elliott Sharp and Skúli Sverrisson. Her multiple-projection films with live music have been performed from the Sydney Opera House, Berlin International Film Festival, to RedCat in Los Angeles and the Wexner Center in Ohio.

Reeves has two long-form film projects underway. She is editing CELIA, SHE SAID, an experimental feature focused on Cuban revolutionary Celia Sanchez and her connections to other international revolutionary women. The project was supported by a Princess Grace Awards Special Project grant. FLYING ISLANDS OF THE NIGHT is a medium-length 16mm dual-projection work about the islands of the world, lively creatures from sea and sky, and the wilderness inside. The project was inspired by a play with the same title, written by the poet James Whitcomb Riley, Reeves’ great, great uncle.

Reeves has taught film and animation courses at The Cooper Union School of Art since 2005.