I’ve already touched on cinematic hybridity — that blend between documentary and fictional modes of storytelling — a number of times, most recently with reference to some Brazilian films such as Baronesa (2017). This is extended by two Dutch filmmakers working in Suriname with a community of former slaves, crafting a work of visual beauty and also imbued with a sense of poetic storytelling, as part of a creative process involving the entire community.
There’s a certain type of film that London’s Institute for Contemporary Arts presents — and if you live in a large city, maybe you too have some kind of modern arts space with galleries, musical/performance venues, a bookshop heavy on theoretical texts and which has a cinema too. Anyway, there are films they show there that in my mind are simply filed away as “ICA films”, because where else would I see them? Last year’s The Nothing Factory was definitely one such film (and indeed the other output of production company Terratreme), the Frames of Representation festival, the Straub-Huillet season… I could go on. And now there’s this one: a Dutch film made in Suriname with (and about) a community descended originally from slaves, the Maroon people, which merges storytelling, documentary and staged theatre to tell a history, to depict a way of life, and to critique colonialism. It’s a very ICA film.
That’s not to say it’s bad, but I couldn’t quite tell you what happens. It has chapters, and a sort of free associative narrative quality, where it moves from various groups of people to others. Sometimes we see documentary-like scenes of nature — there are some sweepingly beautiful and impressive shots of the scenery — or of people making things or working. There are scenes where the inhabitants/actors stand and enunciate texts with all the studied grace of a Straub-Huillet film, and there’s even a bit of humorous self-critique whereby they discuss the Dutch filmmakers’ production terms and a distribution deal they’re not so happy about.
The film screened with a filmed introduction by the three directors (the two Dutch ones, and Tolin Alexander, a local Surinamese director) about the film and their process, and throughout this short featurette it is emphasised how Stones Have Laws was very much a collaborative artwork, whereby the text and the presentation was developed in consultation with the people who were not merely actors but also the very source for the material. It’s about being respectful to cultures who may not welcome the presence of outsiders, and it’s a fascinating work on several levels, and I think it’s a great example of the way that ethnographic concerns can work with its subjects to produce a sort of hybrid form.
Directors Lonnie van Brummelen, Siebren de Haan and Tolin Erwin Alexander; Writers collaborative with the cast; Cinematographers van Brummelen and de Haan; Length 100 minutes.
Seen at ICA, London, Friday 16 August 2019.