AIF C.W. Winter, Anders Edström - 4
Black Ixchell Candle Ixchell
The filmmakers previously applied a similar approach, which they themselves have described as a "topological reworking of the real into the fictional," when making The Anchorage (2009), a portrait of Ulla Edström, Anders' mother. The film is a reconstruction of three days in her life on a Swedish archipelago around Stockholm, during which isolation, serenity and routine are broken by the appearance of a mysterious hunter. Once more, plot is secondary to the sophisticated attention paid to the everyday exchanges between the human and the natural, the lived and the constructed. But whereas The Anchorage seeks rather a formal homogeneity, The Works and Days draws on a multitude of formal and sensory registers, with the dedication to sound timbre and composition particularly notable.
This preoccupation with sound is no accident: indeed, both creators share a love of the work of sound artists such as Alvin Lucier, Éliane Radigue or Akio Suzuki, which can be heard subtly in their most recent film. One of their heroes is guitar improviser-par-excellence Derek Bailey, of whom they made a portrait sketch in 2003, driven by a shared fascination with duration and the idea of "a delivery with restraint that which emerges over extended time"— a description that also graces their own work. If Bailey's spirit permeates the work of C.W. Winter and Anders Edström, it is almost certainly to be found in their non-idiomatic approach: a cinematic approach founded on discipline and dissensus, openness to contingency and investment over time. An approach that does not advocate for the overly determined and pre-ordained, but for cinema as a medium of shared experiences and lasting rewards.