From the Chicago Reader (August 26, 1988). — J.R.
Directed and written by Jon Jost.
The film essay, as opposed to the documentary, remains in some respects the most neglected of contemporary film genres, by filmmakers and audiences alike, perhaps because it is seldom acknowledged as a film form at all. The only recent mainstream examples that come to mind are the first two parts of Godfrey Reggio’s trilogy, Koyaanisqatsi (1983) and Powaqqatsi (1988). As an English reviewer remarked of Koyaanisqatsi — a film that, incidentally, owed most of its exposure to Francis Ford Coppola’s distribution — “Its vainglorious appeal as a ‘new cinematic experience’ is really to an audience that would rather be open-mouthed than open-minded.” I found its glib borrowings from the avant-garde so irritating that I had no sense of regret about missing its sequel.
On the other hand, the most masterful examples I can think of from the last two decades — Orson Welles’s F for Fake (1973) and Chris Marker’s Sans soleil (1982) — both flopped commercially in this country. And most of the other distinguished examples from the 70s and 80s seem to appear only on the experimental film circuits: Trinh T. Min-ha’s Reassemblage (1982) and Naked Spaces (1985), Chicago filmmaker Peter Thompson’s Universal Hotel/Universal Citizen (1986-87; available on tape at Facets), Jane Campion’s 1984 Passionless Moments (which showed at the Film Center last weekend), and Jon Jost’s Speaking Directly: Some American Notes (1973; also available on tape at Facets).… Read more »