Series

Momma’s Man

Followed by the world premiere of Ken Jacobs’s Downtown Loft with Skylights.

Azazel Jacobs’s comic and melancholic tale about the allure (and drawbacks) of escaping into nostalgia follows a thirtysomething man (Matt Boren) with no apparent urge to leave his parents’ (Ken and Flo Jacobs) Manhattan loft. Followed by the world premiere of Ken Jacobs’s Downtown Loft with Skylights.

DIRECTOR
Azazel Jacobs
YEAR
2008
COUNTRY
U.S.
RUNTIME
94 minutes
FORMAT
35mm
START DATE
April 20, 2026

See with The Sky Socialist and save $3 per ticket! Discount applies when adding both tickets to cart.

I Walked Into My Shortcomings, a new monumental compendium that brings together the writings, teachings and interviews of legendary American filmmaker Ken Jacobs, is on sale at the concession stand in the lobby of the Walter Reade Theater for $45 while supplies last!

A profoundly moving portrait of the parent-child relationship, by turns comic and melancholic, Azazel Jacobs’s second feature stars Matt Boren as Mikey, an anguished thirtysomething who, after missing a return flight back home to Los Angeles (and to his wife and infant child), installs himself in his parents’ downtown Manhattan loft with no apparent urge to leave. Enveloped by the countless curious objects in the apartment, and by his mother and father themselves (unforgettably portrayed by Jacobs’s own parents, Ken and Flo Jacobs), Mikey freefalls into the gap between youth and adulthood, drifting ever further from his responsibilities. In addition to Ken and Flo’s on-screen performances, Momma’s Man takes place almost entirely within the confines of their real-life apartment, which, yes, is itself a crucial character in this touching tale about the allure (and drawbacks) of escaping into nostalgia.

Followed by:
Downtown Loft with Skylights
Ken Jacobs, 2024, U.S., 15m
World Premiere
In this late work (made with Azazel Jacobs’s participation), Ken Jacobs returns to an earlier (and frequent) subject, the bric-a-brac-laden loft in which he and Flo lived, and from it he derives a lacunar, fragmented, sculptural reenvisioning of on-screen (and domestic) space.

Momma’s Man
Momma’s Man

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