Jeff Keen Movies

Jeff Keen thought that some of his previous films had been dominated by long-shots. In this film he grapples with the language of cinema, not as a...

The Artwar loops were made for non-cinematic exhibition and go from harsh film surface noise to colour bars and other video effects filmed from the...

From spinning paper guns to pulsing television screens, from zooms, crosscutting and painted film surfaces to burning paper, Jeff Keen uses all the...

Named after the horror film White Zombie and the rom-com Red Dust (both 1932), White Dust follows the friends and family of Keen while they explore...

The Artwar face peers through painted celluloid and a barrage of explosions and film noise.

Rayday Film was shown projected in several 100-foot length parts from multiple projectors. The friends and family who featured in costume and...

A documentation of Jeff Keen painting, using montage to turn a mild-mannered English painter into a Wild West gunslinger.

This vibrant montage of colours and positive and negative images shows Jeff Keen filtering and reflecting on his previous films.

Stealth bombers hover over crashing waves and ruined land. Using found footage and several thick layers of video, Jeff Keen presents and visceral...

Treating apocalyptic and aggressive imagery with silence and slow washes of colour, Jeff Keen exhibits and works against his usual tropes.

Footage of the first Iraq War is jarringly intercut with shots of the artist painting at the local tip and at home. Drawing upon pivotal moments in...

Made to represent an entire cinema programme, Meatdaze consists of six sections that include cartoons, supporting and main features.

Jeff Keen had a chance encounter with a collection of old 78 speed records at a Brighton flea market and used it as an opportunity to create a...

The Pink Auto, screened using two projectors, is one of the very first examples of expanded cinema. Jeff Keen walks as a zombie and carry his dead...

One of Jeff Keen's diary films. Keen made many diary films with his daughter, wife and friends in the late 60s and 70s. These were edited in camera...

Made between 1970 and 1975, Jeff Keen's films always contain internal layers and films within films. The twenty-four films here include hand-painted...

In Cineblatz, the viewer is subjected to a high-impact barrage of evolving images, at once comic and terrifying. Glossy magazines are cut up and...

'Afterblatz 2' was shot on video and screened alongside 'Omozap Terribelis'. It uses the toy 'My First Sony' to present a number of...

Jeff Keen's final film pushes his conflation of personal history and war even further than before.

Four minutes of heavily cut-up sound and vision with collage, animation and multiple exposures throughout.