Stockholm Archipelago, THE ANCHORAGE begins with a bit of cinema verité: a pitch-black screen from which, very eventually, sounds begins to emerge: insects, birds, wind and more. Light slowly dawns, and why not? If it's dark out, then it's dark on-screen: No day-for-night stuff here! Soon we have a scene of nude bathing in the Baltic Sea by a woman somewhere between middle and old age, who, my companion noted, looks better with cloths than without. No turn-ons, either.
Nev Schulman's in Catfish, and you'll get my point. The movie's location is perhaps the key. It's special -- and worth spending time in. And since Ulla lives in this location, it is she with whom we spend our time.
When the filmmakers' camera is at work, it's generally stationary, quietly observing everything from the sea to the wind in the trees, a crossword puzzle and a needy dog. Choice, of course, is all, and I think I might have made some different choices were I directing. Though, since I can't know all the many moment there were to choose from, who knows?
Anthology Film Archives in Manhattan. Click here for the schedule of performances, and then click the arrow next to "Filter by Program" (in the upper right quadrant) and then click on Premiere/Revivals. Following its AFA playdate, the film is expected to move to other locations, including Cambridge's Harvard Film Archive, Seattle's Northwest Film Forum, Pointlignelan/Le Fémis in Paris and Los Angeles' California Institute of the Arts.