Over the past five years the annual Jerwood/FVU Awards have been a sensitive weathervane for assessing the prevailing currents in moving image art and for demonstrating the new approaches and concerns of the next generation of MI artists (when supported with generous funding!) The £20,000 award allows the fortunate artist the time and resources to generate complex and carefully crafted films often involving extensive research and the coordination of a diverse team. In the last few years it has launched the careers of some of my favourite artists including Alice May Williams and Marianna Simnett. This year the quality is as high as ever with stunning films from Imran Perretta and Maeve Brennan. They have chosen universal, politically charged themes and integrated the expertise and personal accounts of a wide range of sources while paying homage to specific communities. The judicious use of dramatic archive inserts (Brennan) and mixing live footage with CGI (Perreta) are highly effective and indicative of MI art’s current strengths.
Responding to the set theme of Unintended Consequences, the two artists have illuminated a more profound question: how to respond to the struggles that threaten our species survival – the conflicts within the human environment in Perretta’s 15 Days, and our perilous relationship with the natural environment in Brennan’s Listening in the Dark. Perretta’s film highlights the challenge that mass migration poses to the tired notion of the nation state, now past its sell-by date and in need of radical rethinking. If we cannot fix this, national rivalries will bring us all down. Through an investigation of wind turbines on bats, Brennan’s film scrutinises technological progress and the need to restructure the way we perceive our relationship with our fragile ecology. If we cannot listen to our planet’s distress it may finish us off even sooner.
Both films exemplify the merits of collaboration with experts from other fields so the credit listings are revealing. As noted in previous blogposts on the Jerwood/FVU Award this can lead to an unsatisfying incoherence but this is not the case in these works. In Brennan’s film even the ten species of bats she features are name checked in the closing credits (their magnified chirrups are a key element of the sound design which is always a strength of her films). The input of bat researchers and geologists has been carefully marshalled and her decision to hand over the narration to the scientist, J. David Pye, the pioneering inventor of the ultrasonic bat detector is in keeping with her Jeremy Delleresque modus operandi. His measured and committed tone of voice conveys a lifelong dedication to the scientific community and enhances the film’s modest integrity.
Brennan explores the blowback effects that all technological advances generate. Although averting climate change, renewable energy structures have their own deleterious impacts here symbolised in the destruction of wildlife by wind turbines. The chirrups of bats against the sonorous roar of the wind turbines point to the power of technology to overwhelm delicate ecosystems. Bat lungs explode when flying downstream of the rotor blades yet the concrete bases of offshore wind farms form artifical reefs which provide novel food sources for seal populations, neatly encapsulating the double-edged nature of scientific advance. Many MI art landscape tropes appear including caves, windfarms and rocky shorelines but they are all given a fresh treatment that draws us in to the film’s elegiac atmosphere.
Perretta has mixed Italian / Bangladeshi heritage and his global perspective has fuelled his anger over the failings of nation states as they desperately attempt to shore up their relevance. He relies on the combined insights gleaned from his encounters with migrants and refugees and gives a writing credit to “15 days”. This is the self-styled moniker of one his sources who has lived in the makeshift encampment in the woods on the outskirts of Calais following the bulldozing of the notorious “Jungle” camp in 2017. The writer and actor Elham Ehsas, himself an Afghan asylum seeker who I saw on stage in the inspirational play The Jungle at the Young Vic, has also had a key input. His personal experience is embodied in the poetic text and the emotional intensity of his narration in his native Pashto. It includes many stark and memorable images refering to the sense of burial and dissolution into the soil as a metaphor for the weight of white oppression. As the Calais migrants complained, the term “Jungle” had, in crude Daily Mail fashion, reduced them to the level of animals.
The most significant innovation is the way the CGI foreground, like the chorus in an Ancient Greek tragedy, acts as a both as a framing device and a commentary on the live action footage. The tent suffers unseen physical insults, with accompanying sound effects, gradually deflating until it is flattened by the film’s end, a poignant proxy more powerful than the actual violent scenes that might have been used.
For the first time in the last four years of the Awards I cannot choose between the two. I was engrossed by both of them and their insights into the problems we face gave me much to chew on. I have often wondered, if we are facing an apocalypse, will it be conflict with each other or conflict with our natural environment that will finish us? Lets hope that our species soon realises the imperative to reconcile our differences and unite against the environmental catastrophe that threatens all of us.
Next year’s Jerwood Award theme is Going, Gone to mark the divorce from our European partners. So more sombre reflection then.