But he’s now on good terms with his ex, Kelsey (Kate Arrington), and her new husband, Isaac (Michael Shannon, in total goober mode), and regularly Zooms with both of them as well as childhood friend Terry (Felonious Munk). He has no other job at present, and as the film progresses, details are slowly doled out about his struggles with alcohol abuse (which ramp up across the film’s runtime), a nervous breakdown he suffered a few years ago, and the subsequent loss of his job and family in the wake of those two things.
#Jennifer reeder series#
As Night’s End opens, Ken is producing a video series where he details the history and haunting of his apartment. Indeed, none of Reeder’s previous powers of alchemy are present in this story of Ken (Geno Walker), horror’s latest mentally-disturbed shut-in.
#Jennifer reeder movie#
Which is why her latest, Night’s End, lands as such a thudding disappointment, a ragbag of various horror movie modes that fail to coalesce in any meaningful way - except perhaps in the film’s bugfuck finale, but that’s only because methodical slog pleasantly gives way to histrionic nonsense.
It’s the rare kind of film that feels untouched by the regurgitative Hollywood machine, an eerie and grimy and stylish cocktail that manages to mutate its familiar parts into something genuinely other. ( InRO ’s Matt Lynch dubbed it something like “ Nic Refn’s The Ice Storm ,” which isn’t far off). This latter mode crescendoed with 2019’s Knives and Skin, a wonderful, singular oddity that is baked in Megan Abbott-esque teen femme noir, cut through with the acidic bite of Harold Pinter, and which recalls in setting the suburban blight cinema of the late ‘90s. Early in her career, she made a point of exploring white trash - both as an aesthetic and a socioeconomic condition - and more recently she has made study of female adolescence, often flourished with the supernatural, among other genre touches. Jennifer Reeder has always gravitated toward highly particular subject matter, typically extended and fleshed out across a few different projects. The film screened at the Wex September 13–14, 2019.Night’s End is a Frankensteined mess of horror movie modes that never achieves any formal or thematic cogency. Knives and Skin had its world premiere at the Berlin International Film Festival and US premiere at the Tribeca Film Festival in 2019. She received a second Artist Residency Award in 2017–18 for the production of Knives and Skin (2019), her acclaimed feature film about the mysterious disappearance of a teenage girl in a midwestern town. The award enabled her to direct her first feature-length narrative, Accidents at Home and How They Happen (2008), which was shot in Columbus and edited in the Film/Video Studio. Reeder was the recipient of a 2006–07 Artist Residency Award in Film/Video. Since then, Reeder has completed numerous projects with the assistance of the Wexner Center including two of her most celebrated narrative shorts: A Million Miles Away (2014) and Blood Below the Skin (2015), which screened at Sundance and the Berlin International Film Festival, respectively. She returned the following year to work on her experimental short The Closer Stockholm (2004) and began a long creative relationship with editor Mike Olenick. In 2002, Reeder came to the Wex for her first residency in the Film/Video Studio to edit Tiny Plastic Rainbow (2003), an experimental narrative about lonely, urban adults.
1971) long history with the Wexner Center began with a stint as a student employee in 1989, the year the building opened. A native of Columbus and graduate of The Ohio State University, Jennifer Reeder’s (b.
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