In every major city in the world there are squares much like the one in José Luis Guerín‘s Guest. Like Union Square in New York City, Yonge-Dundas Square is an area where you’ll find hippies, 9/11 “truthers,” performance artists and those allied to whatever cause is worth calling attention to at the time. Guest, following in a video diary sensibility pioneered by Jonas Mekas and stolen by American ad agencies to sell us Coca-Cola, calls attention to the fringe focusing his lens away from what we commonly associate with the film festival world.
Subjectivity is traded for formalism, as it should be in a video diary. It is impossible to achieve the realism of a Fredrick Wiseman film even in a Fredrick Wiseman film: decisions must be made. Guerin’s film is beautifully shot in black and white mini-DV, a perfect medium for self-exploration. Often times Guerin presents a reflexive and harsh commentary importation of culture occurring at film festivals.
The filmmaker was an invited guest of several festivals (although it screened at TIFF, he was unable to attend) to show his film In The City of Sylvia. While screening it he makes stops in Sao Paolo, Havana, New York, Paris, Lisbon, Seoul and Vancouver from September 2007-September 2008. Several days are short impressions. Time is often lost in transit and he doesn’t record while at home.
The role of the film festivals is limited unless engaging in a self-reflexive debate on the nature of narrative and fiction in documentary. The film presents much to unpack, focusing on the fringe as if to suggest that festivals often bring the promise of new and exciting culture but do not capture those that are unaware, caught in their own daily battles.
It is fitting to see a film at a festival that has been criticized by its hometown newspaper for limiting access to the public through high-ticket prices and moving the festival southbound away from Yorkville (where the celebrities play). If Guerin were aiming his camera at Toronto, it would be interesting to see where he would venture. In New York he juxtaposes images of the city with the opening score from Portrait of Jenny, a film about finding love and artistic inspiration.
The major conceit of the film is that it does not seem Guerin knows what exactly he is looking for. And while the film presents complex ideas often from fringe protesters in areas like Yonge-Dundas Square, it’s relationship between the subject, viewer and audience is convoluted. One’s diary can be lucid – good filmmakers are bursting with ideas, great ones focus on said idea and blossom. The lack of focus contained within the very strict structure set forth is both fascinating and frustrating – and then Jonas Mekas magically appears.
7 out of 10
Will you see Guest? What do you think of film festival culture?