Written in early October for “En movimiento,” my bimonthly column for Caimán Cuadaernos de Cine, written in alternation with Adrian Martin, for their November 2013 issue. — J.R.
It was a little over 25 years ago, shortly after I moved to Chicago, that I first encountered the staggering work of Peter Thompson, a local independent filmmaker I’d never heard of. I saw his first four films (he was never to make more than six) –- two “diptychs” consisting of films about his parents (Two Portraits, both made in 1981) and Universal Hotel and Universal Citizen, both made in 1986, exploring respectively eleven photographs and two drawings of a Polish POW who was frozen and then thawed by a German prostitute as part of a Nazi experiment and Thompson’s attempts to photograph a Libyan Jewish smuggler and former Dachau inmate in a Guatemalan jungle. Not long afterwards, seeing Thompson interviewed one afternoon on local TV, I felt an urgent desire to become friends with him, and we met soon afterwards.
Eventually we became neighbors as well as good friends, and I saw his two subsequent films, the 83-minute El movimiento, (2003), charting the complicated relationship over a decade between himself, an American anthropologist (William C.… Read more »