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)
Though the links Gorin makes between the train enthusiasts and Manny Farber may seem tenuous at times, this is still a humane and gentle essay film about a slice of American life which possibly doesn't exist anymore. I get very excited when I see how some filmmakers can take the format of the personal essay and translate it to film. A rich and rewarding movie.