The terror of teenhood is in full flower in Azazel Jacobs’s alternately disarming and discomfiting Terri. Mostly gone is the (intentionally) coddling warmth of Jacobs’s breakout, the melancholic and marvelously musty Momma’s Man. That film was as much an act of devotion to the director’s parents—the legendary found-footage-alchemist Ken Jacobs and artist Flo Jacobs—as it was an ambivalent expression of stunted youth, which has been perhaps the favored topic of boy filmmakers everywhere over the last decade or so but which Jacobs related with tenderness and a lack of cliché. Momma’s Man’s veiled-thin-as-gauze autobiographical protagonist may have been a grownup, but he was as fearful of the future as any imaginable gawky adolescent, returning to his parents’ womb-loft in Tribeca while in the midst of marital problems. Terri (played by relative unknown Jacob Wysocki), on the other hand, has had no experience with women to have even manufactured a perception of his relation to them. He’s stuck in that post-pubescent netherworld, unsure of his next move, or even if there is a next move, so intractable and eternal does his stasis seem. Read Michael Koresky’s review of Terri.