Expatriate Chinese director Xiaolu Guo is another key figure in British (and indeed wider European) arts scene, who has made a number of films which bridge documentary and drama and don’t really sit very comfortably within British filmmaking, preferring a rather more avant-garde praxis and perhaps better suited to gallery spaces.
One of Xiaolu Guo’s growing body of films clearly made on a shoestring budget, pitched somewhere in between documentary and fiction. Perhaps this is because of the way they’re filmed, or because they deal with real people in fictionalised scenarios, but it’s interesting to see these five disparate people enact a drama around the reproduction of a Caravaggio painting. Four of these men live in London (none of them English, it would seem, and Brexit inevitably plays a background role), while the artist of the painting is in China, one of a village community entirely filled with artists. One of the four London-based men, a photographer, strips off to pose on trees for his own photos, a hairy counterpoint to the smooth features and perfect light of the young man in Caravaggio’s painting. Another of them is a philosopher, but dabbles in art himself, endlessly trying to reconfigure and improve the reproduction painting, a philosophical exercise perhaps. The third is a writer, displaced from Ethiopia via the Sudan, who has a shelf full of books by Deleuze that he barely understands, but reads obsessively and quotes from, and here we have this idea of the time-image (his are key texts for theorists of cinema), which is I guess what the Caravaggio reproduction functions as for the fourth man, a poet. There’s a lot to unpack, and Guo’s films aren’t always the most accessible, but she’s an artist and this is another of her reproducible works.
Director/Writer/Cinematographer Xiaolu Guo 郭小橹; Length 74 minutes.
Seen at BFI Southbank (NFT3), London, Saturday 20 October 2018.