“In 2025 we endured the tragic loss of a pair of artists, who in life were united in love: Florence Jacobs, in June, and in October, Ken Jacobs. Together they were the prime movers behind our organization, putting sweat, ingenuity and vision behind a utopian idea that we all might be able to share the tools, knowledge, space, and resources required for filmmaking, and forge an alternative community of cinema opposed to the practices of capitalism and industry.” – Joe Wakeman

Curated by Grahame Weinbren, Vince Warne, and the MFJ editors, this programmecelebrates the launch of MFJ 83. 

Programme:
- Nissan Ariana Window
Ken Jacobs, 1968, 12 min
“Nissan Ariana Window is 3/4’s of our daughter’s name. She was just a kid when these pictures were taken. Some were taken before she was born: pregnant Flo together with pregnant cat China sunning themselves under the skylight. Andrew Noren likes the movie.” – Ken Jacobs

- Full Out
Sarah Ballard, 2025, 14 min
“Ballard calls to mind the notion of cinema as a type of hypnotism and reverie both exhilarating and disorienting: the sheer, gravity-defying, delirious movement of both the cheerleaders and the camera brings the film round (and round) to first experimental cinematic principles again, while also resonating with a long, cyclical history of the allure and uneasy ethics of imaging women’s states of being.” – Sarah Keller

- Selected Works
@welcometo_blue, 2025, 5 min
“There’s a pervasive sense of voyeurism, a loneliness, a fascination with light, movement, a blurry shoegaze haze, tiny slices of infinity. Many of them – notably, the extraordinary 2.5-minute short film The Scent Sang a Song – seemed to be filmed in an abandoned elementary school, a liminal space of fluorescent light fixtures, chain-link fences, portable classrooms, windows overlooking palm trees silhouetted against a dark sky.” – Vince Warne

- Object d’énigme
Chiara Caterina, 2026, 18 min
“One viewer may be led to the horrors of misogyny, another to the agonies of identity loss, a third to the idea of temptation prompted by the forbidden. All may share an appreciation of the beauties of the ghostly grey LiDAR images and the pure pleasures of precisely composed cinema.” – Grahame Weinbren

- Tigers Can Be Seen in the Rain
Oscar Ruiz Navia, 2025, 15 min
“Ruiz’s embalmment of time is guided by memory as much as reality, the hauntological dimensions of public space informed by the sister who called him Papeto. Tigers Can Be Seen in the Rain slowly reveals its raison d’être as an act of custodial care, enshrining the memory of one human being as a node within a grander network of cultural history.” – Nick Kouhi

- Repeat After Me (Part 2)
Open Group, 2022-24, 17 min, with audience participation
Open Group is a well-known Ukrainian artist collective founded in Lviv in 2012. The current permanent members are Yuriy Biley, Pavlo Kovach and Anton Varga. This is the second part of Repeat After Me. The first part, produced in 2022, was included in the MFJ 82 Close-Up screening last December. Though rarely exhibited, it is in several ways a unique work, making unusual, specific demands of its viewers and offering a unique cinematic experience in return.

“Men, women, old, middle aged, young. One by one they stare into the camera, identify themselves, and shout, yowl, grunt, hiss, roar the sounds of war. UUUUhHHhhTDDURRShHTTZHHTTZHT.
Machine gun. Explosion. Siren. Drone. Helicopter. Bomber. Plane.
WZWFFFBUBUUHH!WZWFFFBUBUUHH!
After producing the extended sound of war weapons or warning sirens, the performer issues the command
‘Повторюй за мною’ – ‘Repeat afte rme.’“
– Grahame Weinbren

The Millennium Film Workshop gratefully acknowledges support for the Millennium Film Journal by the following individuals and organizations: Deborah and Dan Duane; Walter and Karla Goldschmidt Foundation; C. Noll Brinckmann, anonymous donors; and New York State Council on the Arts. Special thanks to Magda Savon for introducing us to the Open Group.