Tag Archives: Documentary

#201 – Cat Elvis

(1986, Bel, 75 min) Dir Benoît Poolberde.

Documentary set amongst the world of competitive cat shows where Remy Bescreay has an ace up his sleeve – his fat feline called Elvis, who will sing and dance to the songs of his namesake. Okay, so it’s not really singing – Elvis merely goes WAOW rhythmically to the music though he does, to his credit, wiggle his hips in a reasonable imitation of the King while appearing to tolerate the wearing of a white sequined jump suit. For the films’ first half it seems as though mockery is the order of the day with footage from the 1984 Belgian National Cat Championship in Ostend doing little to dispel this notion with the camera focussing exclusively on the strangest of the competitors in both looks and behaviour. The back half of the film though, with Remy and Elvis in Tokyo for the International Feline Showcase, digs a lot deeper when Elvis becomes ill and Remy’s love for his cat, which goes beyond his use as a performer, comes to the fore and what begins as a showcase for easy laughs becomes a vessel for heartbreak.

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#185 – Flex/Flesh

(1967, Wger, 14 min) Dir Nickolaus Müller.

Narrativeless German bodybuilding doc. Emboldened by a screening of Kenneth Anger’s Scorpio Rising, reclusive law student Müller scratched up whatever money he could and shot this, his debut short, ultimately setting himself onthe road from reclusive law student to the flamboyant experimental filmmaker that shot across film history like a shooting star. But that was all in the future – what promise does this scant fourteen minutes show? Well, the first thing that jumps out at the viewer is the acknowledged debt to the Anger film in form though without Scorpio Rising‘s challenging iconography. In saying that the fact that the film is stripped down to just muscular men pumping iron works in the film’s favour as it becomes less about culture and subculture and more about the human body, both in the how of it’s sculpting and in reverence to it. Also evident is his skill in both filming and editing, how he has captured small but telling moments that he has integrated slyly into the finished product – I’m thinking here of the old man watching from a window as he passes, a snatched glimpse preserved in the film where it sits as a mystery of desire emblematic of the director’s own position. For completists only for sure but still rich in pleasures of it’s own.

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#184 – Empty Forest, The

(2015, US/GB/Fr, 102 min) Dir John Henry.

Campaigning doc about illegal wildlife trade. In the last couple of decades the amount of animals in the wild has declined massively and confrontational director John Henry wants to find out why – this is no disingenuous starting point question either, he wants to actually ask people why they are taking the animals out of their habitats and why the people who are buying them are doing so, even if it means being on the receiving end of some very angry men. The answer is depressing – the animals in question are either being kept domestically in cages thousands of miles from their natural habitat or else eaten for the status their meat conveys and the unfounded belief in it’s medicinal properties. An angry film that forces the viewer to bear witness to the animal markets of South East Asia, the piles of confiscated ivory in Africa and the animals caged outside restaurants in China or, as more recently exposed, in the Golden Triangle Special Economic Zone in Laos. A barrage of statistics makes it plain that it’s not just elephants and tigers that are suffering – the loris, bears, pangolin, snakes, salamanders and many, many more now hover on the brink of extinction. That there is no solution or hope of a happy ending offered by the film makes it that much bleaker.

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#173 – Palm

(2012, Can/GB, 76 min) Dir Alice Werkherser.

Alice Werkherser’s follow up to Engineer Species is a very different beast to the earlier work which followed the traditional interview/narrative form of documentary and is very alike Peter Mettler’s Petropolis in execution. The main difference between the two films is that Mettler’s film, being an aerial record of the devastation wrought by industry on the Alberta tar sands, has visuals that are dramatic, terrifying and even beautiful if isolated from their context. Werkherser’s film is similar in many ways in that it is also about a great environmental devastation but one whose visual effect on the land is not as immediately shocking. Through a combination of helicopter and drone photography she has recorded the vast scale of the palm oil plantations that have irrevocably changed the once lush rainforests of Sumatra and Borneo in Indonesia (the world’s largest producer) into unending rows of farmed palm trees, straight line after straight line from one end of the film to the other, each area tagged at the bottom of the screen before rolling on for uninterrupted chunks of time in it’s bland, terrifying uniformity. He soundtrack is given over to a variety of people affected by this, from the purchaser of a multinational company (unnamed) who imports the oil about the surprising amount of products it is used in, to an indigenous person displaced by the plantations, to a representative from International Animal Rescue on the terrible effect on the local wildlife and environment, to a farm worker who relies on the plantations to feed his family and who was unemployed prior to that. A piece of vertiginous perspective.

#171 – Camino de Santiago

(2003, US/Sp, 104 min) Dir Emmanuel Pascal, Andrea Filipe.

The first in Pascal and Filipe’s four years in the making Walks Trilogy. The directing duos films are the very paragon of simplicity, following a process or – in the case of their Walks Trilogy – journeys. In Access Road they follow the construction of a mining road in the forests of the Pacific Northwest and with Camino de Santiago they turn their cool lens on the route and the walkers of the famous European pilgrimage. It’s simple – the film begins in Roncevaux and ends in the Cathedral of Santiago de Compostela recording the landscape along the way. To some it’s the very definition of cinematic wallpaper but to others the way they record the changing of the landscapes, the relationship of the people within it and the places where the modern world runs up against a path that has remained unchanged in hundreds of years all tells a story that no words could adequately convey. As you can tell I’m a fully paid up member of the latter camp. Still a stunning film on the small screen it plays all the better in the cinema. Pascal and Filipe followed this up with The Inca Trail and Shikoku Pilgrimage, both as stunning as this.

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#109 – Alan Messing, Side Two

(1967, US, 100 min) Dir D.A. Pennebaker. Cast Alan Messing, Tyrone Faith, James ‘Jimmy’ Josephth.

Documentary following one hit country wonder Alan Messing as he records his follow up to Two Roads to Reno, the LSD soaked epic of tunelessness Ecstasy and Enlightenment. Word is that Messing got Pennebaker himself after Don’t Look Back by phoning the man and declaring: “Well you’ve done Dylan and the Kennedy brothers, why not work with a legend for a change?” Certainly from the evidence on display here this doesn’t seem unlikely as Messing isn’t short of ego, bullying all and sundry with his outlandish demands and constantly referring to himself as ‘The Talent’ (and yes, you can hear the capitalisation there when he says it). A fascinating if toe curling record of total hubris which works especially well with it’s follow up, The Ecstasy and Enlightenment of Alan Messing, which was shot thirty years later with an apparently unrepentant Messing, who has been cosmetic surgeried to an unrecognisable degree.

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#107 – Engineer Species

(2006, GB, 88 min) Dir Alice Werkherser. Cast Anthony Beckett.

“If the world had’ve paid attention to us forty, fifty years ago then we wouldn’t be in the fix we are now,” is the opinion of the infamous Anthony Beckett. Once the head of the Anti-Life Brigade prior to its disbanding in 1975 he is recorded here, at the age of 82, as the head of a newer incarnation of the same idea in PopCon, the Population Control lobbying group. “Pollution, global warming, habitat loss, the massive extinctions we’re witnessing, food shortages, greater war and resource scarcity,” runs his argument, “The one thing that’s causing all of this is us, the engineer species of every Earth environment, and the only way that we could stop it is to reduce the stress we’re placing on those environments. That means at the least some form of population control and, at the extreme end, the liquidation of some of the population. It seems foolish to try and face down the world’s problems without acknowledging this.” The centrepiece of the film is his attendance at the World Population Forum where you get a chance to appreciate how much vitriol he and those of like mind are subject to, both from those who oppose his philosophy and those, like the scary Death for Life organisation, who don’t think he goes far enough. A dark and serious film about a man with very deep convictions that is leavened only by clips of Beckett’s own contribution to film, 1974’s unintentionally hilarious Is Your Life Worth Living?

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