An Evening of Premieres and Filmmakers


Tickets are required for all IU Cinema screenings. You can purchase tickets online and pick them up at the IU Auditorium box office during regular hours or 60 minutes prior to any screening. Learn more about IU Cinema tickets »


Parking is available near the IU Cinema at the Jordan Avenue Garage (the top level is open to all visitors). If you have an IU parking pass, you can park at surface lots near the IU Auditorium during the week after 5 p.m. Parking is free on weekends. Learn more about IU Cinema parking »

PrintOrphans Midwest

An Evening of Premieres and Filmmakers

  1. Friday, September 27, 2013 8:30 p.m.
Still image from the film Suitcase of Love and Shame

35mm, 16mm, and ¼” Magnetic Audio Tape

Admission is free for registered conference attendees. Register here.

The program includes:

A Frontier Post (Fox, 1925)

Newly-restored A Frontier Post, a never-released short about the "Buffalo Soldiers" of the U.S. 10th Cavalry; with a commissioned score performed live by Gabriel Gutierrez Arellano. Presented by Greg Wilsbacher (University of South Carolina Moving Image Research Collections).

Landfill 16 (2011)

“Exhumed 16mm film from my very own landfill in Elkhart, Indiana constitute the canvas of Landfill 16. After finishing my double-projection When It Was Blue I was horrified by the bulk of outtakes that would normally go to a landfill. So I temporarily buried the footage to let enzymes and fungi in the soil begin to decompose the image, and then I hand-painted the film to give it new life. This “recycling” is a meditation on the demise of the beautiful 16mm medium and nature’s losing battle to decompose the relics of our abandoned technologies and productions.

The ominous soundtrack mixes recognizable audio, from bulldozers to nature audio, with more abstracted textural and rhythmic sounds I created using audio from consumer-goods factories, old 16mm equipment, the cries of a dying bird stuck in my wall, and other oddities. Within this multi-textured, pulsating, abstract moving painting I attempt to express my dread of man-made waste that endangers land and wildlife.” -Jennifer Reeves

Jennifer Reeves is scheduled to introduce the film.

Jennifer Reeves
Jennifer Reeves (b. 1971, Sri Lanka) is a New York-based filmmaker working primarily on 16mm. She has done her own writing, cinematography, editing, painting, optical-printing and sound on most of her twenty-plus works. Her subjective and personal films explore themes of memory, mental health, sexuality, landscape and politics. Reeves’ work has shown extensively, from the Berlin, New York, London, Sundance, and Hong Kong Film Festivals to microcinemas and museums. Retrospectives of Reeves’ work have been presented by Era New Horizons Film Festival, Kino Arsenal, Anthology Film Archives, and San Francisco Cinematheque. Her acclaimed work includes The Time We Killed and When it was Blue.

Suitcase of Love and Shame (2013)

Tender, erotic, and pathetic, this film collage examines the obsession to chronicle the details of an adulterous love affair. Reconstructed from 1960s audio recordings purchased on eBay, the film reimagines a narrative in which a Midwestern woman and her lover become reliant on recording devises to document and memorialize their relationship. Suggestively foregrounding the tape recorder as the confidant, witness, and participant that the lovers come to depend on -- always omnipresent, the recorder creates a welcomed ménage-à-trois. The listener/viewer is variously located within and outside of the events – complicit and voyeuristic. The “eavesdropping viewer” compelled despite feeling embarrassed and uncomfortable with the knowledge and access they have been given and the transgressions they imagine they see.

Filmmaker Jane Gillooly and archivist Albert Steg are scheduled to introduce the film.

Jane Gillooly
Jane Gillooly is a non-fiction and narrative film/video maker whose work is inspired and informed by a century of non-fiction filmmaking, silent and vintage cinema, and activism. Gillooly consistently surprises as she crosses new boundaries and confronts new subjects with a distinctive vision. Her current work, Suitcase of Love and Shame, repurposes historical material for use in time-based media collage and is the culmination of an evolving filmography. Gillooly uniquely balances a commitment to emotional authenticity with a sensorial, textural style driven by striking images, sounds, and a musical approach to editing. Gillooly has an enormous capacity for capturing the complexities of real characters on film. As in her previous works, Today the Hawk Takes One Chick, (2008) and Leona’s Sister Gerri, (1995), Gillooly demonstrates a compassion for and instinctive understanding of the nuances of human emotion.