What do a group of model-train enthusiasts and the legendary film critic and painter Manny Farber have in common? These two lines intersect in cultural inquisitor Jean-Pierre Gorin’s lovely and distinctly American film.
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From his experience with the Dziga Vertov group, Gorin retains an approximation to what is external to the world's complacency, looking Manny Faber and a community through its idiosyncrasies. It's a structuralist experience of cinema's capabilities to establish a dialogue by analogies, between the practices that individualize and can approach individuals, through a text of pleasure that includes cinema itself.
Exquisite lyrical work that multiplies its meanings in all directions, situated after the Marxist white elephant of Gorin's past/elsewhere, and the termite present of the here/now, which however resolutely ruptures any hint of its own dialectical strategies by opening up orthogonal oppositions within the terms of the dialectic (contd. in comments)