Visions for the Future
To mark their seventy-fifth birthday, the British Film Institute is inviting readers to join seventy-five filmmakers and world leaders in answering two questions:
- Which one film would you wish to share with future generations?
- What excites you about the future of the moving image?
The film I would wish to share with future generations would be Ross McElwee’s 1986 documentary Sherman’s March. The production began as a fairly straightforward documentary about General Sherman’s brutal campaign through the secessionist South, but became something else entirely when McElwee’s was dumped by his girlfriend at the start of principal photography: an autobiographical work of sorts that his sister dubs “a brokenhearted filmmaker’s clumsy chivalrous quest to find love.” McElwee turns the camera on himself and the collection of Southern women he encounters as he retraces Sherman’s steps. But the film ends up being about a whole lot more, as its subtitle suggests: “A Meditation on the Possibility of Romantic Love in the South During an Era of Nuclear Weapons Proliferation”. It’s both a screamingly funny celebration of women and their beguiling effect on the male of species, and an unflinching and profoundly resonant look at frightening things on a personal and global scale. Trust me: movies don’t get any more original or unforgettable than this. There’s just no other film like it.
What excites me about the future of the moving image is the possibility of seeing more films that exhibit the qualities that make Sherman’s March so special: films that are deeply personal, contemplative, honest, uncompromising, unafraid of being different, and not designed primarily as commodities. (It would also be nice if more films were as simply and inexpensively produced.) It’s a very hopeful sign, I think, that an “indie” filmmaker like Christopher Nolan is entrusted with a summer tent-pole attraction like The Dark Knight and allowed to turn it into an intelligent and relatively sober meditation on the ethical questions raised by the “War on Terror,” and that the result is the second-highest grossing film of all time. That’s really exciting to me. We’re still a long way off from the qualities of Sherman’s March being the norm for popular films, but we might be getting there.
