A Date with Shirley (2026)

A vibrant, cubist portrait of a Chinatown haircut marks the final feature-length work from legendary avant-garde filmmaker Ken Jacobs, who passed away last October. Running 48 minutes and shot in U.S. digital, *A Date with Shirley* captures a slice of New York City life—transforming everyday urban energy into cinematic spectacle, much like his debut *Orchard Street* (1955) did seven decades earlier. Three cameras document the action: one operated by Ken himself as his wild, Einstein-like mane gets trimmed, with the other two run by his children, Aza and Nisi. Equal parts tender family moment and dazzling visual art, the film also doubles as a heartfelt tribute to a skilled barber—whose phone number appears in the credits.