Jennifer Reeves at the Drawing Center: Paint It Wack

The experimental filmmaker offers a ride through an anxious brain

A different kind of art frame:  Reeves at work
Corey David
A different kind of art frame: Reeves at work

As a counterweight, Reeves plans "more dialogue, more acted scenes" in her next project, her second feature-length story. She completed her first in 2004, the award-winning The Time We Killed, a gritty tale examining a New York writer's malaise in the wake of September 11. Filmed in a washed-out black-and-white, it was, Reeves admits, "a little depressing," but she promises that the next one, Firelight Song—based on the life of California's first female forest ranger, who happened to be the partner of Reeves's grandmother—will have broader appeal. Even this filmmaker, whom Hammer once proclaimed to be "carrying the torch" of the avant-garde, can have a more conventional wish: "I would like to have a bigger audience, I have to admit." It's likely just a matter of time before thrill-seeking crowds discover Reeves's intense cinematic ventures into the psyche.

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