AFA Screening: MFJ 83 "Round and Round"

Program Notes.

“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, Exec Director, Millennium Film Workshop

This screening – programmed by Grahame Weinbren, Vince Warne, and the MFJ editors – celebrates the launch of Millennium Film Journal No. 83. The film descriptions below are drawn from MFJ 83.

Ken Jacobs NISSAN ARIANA WINDOW (1968, 12′)

“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

Sarah Ballard FULL OUT (2025, 14′)

“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

Karthik Pandian ANOKA (2025, 12′)

“Pandian plays various conversations on top of visuals that progressively go from abstract to concrete. The film is filled with chuckles and jovial voices in various languages – Spanish, K’iche’, Lakota, Ojibwe, Tamil, and Sanskrit – finding delight and surprise in the commonalities across languages.” –Soham Gadre

Oscar Ruiz Navia TIGERS CAN BE SEEN IN THE RAIN (2025, 15′)

“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

@welcometo_blue SELECTED WORKS (2025, 5′)

“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

Chiara Caterina OBJET D’ÉNIGME (2026, 18′)

“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

Total running time: ca. 80 min.

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AFA Screening: MFJ 83 "Round and Round"