Posted on Film Comment‘s blog, February 2, 2016. — J.R.
Consider the lengths of time between Jean Vigo’s death and the first appearances of Zéro de conduite and L’Atalante in the U.S. (thirteen years), or between the first screening of Jacques Rivette’s Out 1 and its recent appearances on Blu-Ray (forty-five years), and it becomes obvious that the popular custom of listing the best films of any given year is unavoidably a mythological undertaking. By the same token, film history in the present should be divided between important filmmakers skilled and successful in hawking their own goods, from Alfred Hitchcock to Spike Lee to Lars von Trier, and those who, for one reason or another, aren’t — a less definitive roll call that includes, among many others, Charles Burnett, Ebrahim Golestan, Luc Moullet, Peter Thompson, Orson Welles, and John Gianvito.
I haven’t seen Gianvito’s early shorts, one of which is called What Nobody Saw (1990), but its very title seems emblematic of his career — as does the epigraph from Cesare Pavese opening the first part of his first feature, The Mad Songs of Fernanda Hussein (2001), which introduced me to his work and remains my favorite: “Everywhere there is a pool of blood that we step into without knowing it.” His second and best known feature, Profit Motive and the Whispering Wind (2007), testifies to the same conviction, and his nine-hour documentary diptych, For Example, The Philippines, which he has been working on for the past decade, is a epic demonstration of the wisdom of Pavese’s remark; Vapor Trail (Clark) (2010, 264 minutes) and now Wake (Subic) (2015, 277 minutes) concentrate on the human ravages left by the Clark Air Force Base and Subic Naval Base — for almost a century, the two largest U.S.… Read more »