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"Ten wack things about financial aid," a discussion in editorial for a student newspaper. The processes of printing, sun through those windows on black skin, black aprons, black ink. Pride on the masthead. Pride in their faces.

This is far from Kevin Jerome Everson's first film about labour, though at eight minutes it is just one sixtieth the length of his opus Park Lanes. As observational though, "do you think we'll get in trouble for this", shot within the University of Virginia and set in 1990. Almost but not entirely like a documentary, it's a gentle, almost dreamy set of moments.

Collaborating with Claudrena Harold they both appeared in a pre-recorded Q&a at 2022's Glasgow Short Film Festival. They talked about its origins within the Black Fire project at the University, that Pride magazine was a testimony to the "wit and grit" of the students who wrote and made it.

The KissMuch of my problem with so-called experimental cinema is a matter of language, and my marriage to it as both a viewer and a critic, despite language’s inevitable failure in the face of other forms of meaning. Some of my difficulty is based on background and affinities, some of it exposure and/or familiarity; most is plain obduracy. For whatever reason we may chose to fixate on, I have a hard time letting non-narrative films tell me how to read them beyond the sense I can put into words. After all, I am inarticulate without them.One friend says the trick is to bring the films “down” to the most fundamental ways in which they work, how the pieces may “add up”—but again this is a metaphor, which is of course the premise of language—an arbitrary equation of different things—and awfully teleological in a realm...