Jennifer Montgomery

Heretic is composed from the outtakes of Joe Gibbons's no-budget feature The Genius, set to John Zorn's Naked City "soundtrack" album Heretic, and recomposed as a satire on Psychotherapy. Features original narration performed by Frank Snider. A study of editing and its relation to the mechanics of the brain, HERETIC initially poses as a preview to the Gibbons film which it then deconstructs and reforms into a satire on psychotherapy.

Jennifer, an intelligent but insecure 14-year-old student at a boarding school, seduces her married dormitory counselor, a photographer who has offered to teach her about his art and winds up shooting her in the nude. She is naive, and he manipulates her into an affair that eventually is discovered. Years later, as the photographer is being investigated by the FBI, the adult woman remembers her first love as a case of herself watching the artist who watched her.

An autobiographical examination of the director's rape at gunpoint nine years prior.

Jennifer Montgomery tracks down three old friends (Joe Westmoreland, Lisa Cholodenko, and Todd Haynes) who borrowed and never returned pieces of her super-8 film equipment.

This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.

Made in collaboration with Keith Sanborn, The Deadman is based on a story by Bataille, charting "the adventures of a near-naked heroine who sets in motion a scabrous free-form orgy before returning to the house to die — a combination of elegance, raunchy defilement and barbaric splendor." — Jonathan Rosenbaum, Chicago Reader.

Jennifer, an intelligent but insecure 14-year-old student at a boarding school, seduces her married dormitory counselor, a photographer who has offered to teach her about his art and winds up shooting her in the nude. She is naive, and he manipulates her into an affair that eventually is discovered. Years later, as the photographer is being investigated by the FBI, the adult woman remembers her first love as a case of herself watching the artist who watched her.

Jennifer, an intelligent but insecure 14-year-old student at a boarding school, seduces her married dormitory counselor, a photographer who has offered to teach her about his art and winds up shooting her in the nude. She is naive, and he manipulates her into an affair that eventually is discovered. Years later, as the photographer is being investigated by the FBI, the adult woman remembers her first love as a case of herself watching the artist who watched her.

An autobiographical examination of the director's rape at gunpoint nine years prior.

Jennifer Montgomery tracks down three old friends (Joe Westmoreland, Lisa Cholodenko, and Todd Haynes) who borrowed and never returned pieces of her super-8 film equipment.

Jennifer Montgomery tracks down three old friends (Joe Westmoreland, Lisa Cholodenko, and Todd Haynes) who borrowed and never returned pieces of her super-8 film equipment.

This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.

This film is depicts early lesbian sexuality, using reenacted scenes from the experience of a 12-year old girl as the platform for a meditation on forbidden desire, transgression, and Lacanian psychoanalytic concepts of identity formation. Raw adolescent memories counterpoint staged scenes, exploring mechanisms of power and submission.

Jennifer is doubly challenged--as a professional journalist, she's trapped on a pleasure boat with Russian ultra-nationalist and macho pig Vladimir Zhirinovsky, conducting an interview which turns into a battle of wills. At home, her lesbian lover teases and insults her relentlessly. Weaving together scenes that present encounters with both characters, the story reveals their unlikely similarity by employing a dispassionate style that renders each power play more insidious.

This video is about animal empathy (anthropomorphism) and our struggles with mortality. The title reflects a pun, with two supporting sources. The first, that we often transfer our most profound emotions onto other animals, i.e., "one species removed." The second, the crackpot but very moving theories of Rudolf Steiner. He believed that animals have a group soul, used interchangeably with the term "species." When one animal dies, the group replaces that part of itself. By contrast, each human being is an individual species/soul, so that when we die, a whole species is rendered extinct.

Like a generation of viewers, I was profoundly affected by Deliverance. But I have always been troubled by the hegemonic structures of gender proposed by Boorman and Dickey. Hence, my version is played by women: myself, Peggy Ahwesh, Jackie Goss, Su Friedrich, and Meredith Root, all experimental filmmakers who work as academics. While faithful to our respective male characters, we also play ourselves. -- Jennifer Montgomery

Depicts the daily life of "Layton House," a fictional therapeutic community, where doctors live with their schizophrenic patients. The characters and events of Layton House were drawn from writings of the anti-psychiatry movement , whose most famous proponent was R.D. Laing. In this film we see experimental therapies, power struggles, and the individual arcs of mental illness converge, as a community struggles to understand itself and determine its destiny.

Depicts the daily life of "Layton House," a fictional therapeutic community, where doctors live with their schizophrenic patients. The characters and events of Layton House were drawn from writings of the anti-psychiatry movement , whose most famous proponent was R.D. Laing. In this film we see experimental therapies, power struggles, and the individual arcs of mental illness converge, as a community struggles to understand itself and determine its destiny.

In the aftermath of a death things may seem very quiet, but there are struggles going on so deep not even those who struggle can recognize them. This film looks and listens for signs of those struggles. Psychoanalytic interjections consider the nature of time and rumination, and are used to step outside of the terribly interiorized state of mourning.