LFF 2021: The Storms of Jeremy Thomas
LFF 2021Esoteric darling Mark Cousins' returns to the documentary format with, ironically enough, even purer and niche than his previous exploits compared to the likes of the fourteen-hour Women Make Film: A New Road Movie Through Cinema or the three hour The Story of Film: A New Generation. Cousins' latest The Storms of Jeremy Thomas is on paper quite a straightforward and conventional foray into the genre with the director looking into an idol of his own and infamous piece of cinematic history in his subject of producer Jeremy Thomas.
Nevertheless, from the outset and throughout, it is evidently clear that it is not the simple documentary or remotely conventional standard an average audience would expect or arguably would find accessible. This is an esoteric and thematically brooding discussion on the cinematic life of its subject and one that is not too friendly regarding inaccessibility. To put it bluntly, this is a filmmakers film, and while that undoubtedly is engineered to so such an audience with the utmost degree of prowess, it can still be felt that this comes across as wildly fine art and thus condescending.
Specified, such a point is in reflection to the subject of Jeremy Thomas himself; little is thoroughly revealed and curated on his personal life that in turn gives little precedent and depth to the documentary on the whole regarding his cinematic influence. This leads to a more metaphorical and thematic conversation on said weight with a focus more conflicted in wanting more to examine the work of Nicolas Roeg than anything else.
Granted, Thomas often enough plays ball, and he and Cousins' have a back and forth in the latter's investigation of what makes the former tick, and ultimately there is a formulation of material that is presented and one that offers glimpses into that very mind that has presented a plethora of zeitgeist influential cinema. Nevertheless, it is that very investigation that becomes the features weakest attribute or perhaps thesis. By the time that the running time begins to close, it becomes clear that no real answer to the genius of Thomas is presented. Furthermore, it becomes clear that no such investigation has ever taken place, and the said investigation is not in the slightest within the coils of Cousins’ mind but instead to be simply within touching distance and within just one second of a chance to see said storm arise in his presence.
Alas, it is up to the viewer if they ever see that very storm arise, but for Cousins, it is evidently clear he has been swooped up with the flowing wind and is dancing like a kite with the surrounding storm. This is a feature that could quite easily succumb to the accusation of a vanity project, and at times, that impression is often difficult to shake in the features aesthetic with Cousins' following - quite literally - Thomas with the use of GoPro's in an almost undercover approach. Curating a feeling of awkwardness and enforced immersion, and while this often leads to fun moments such as Cousins' almost getting wrapped by the security at Cannes, it is debatable if these are conscious or subconscious elements of comedic intent.
If anything, Cousins is the one that comes away with this with the most substance and change of perception. Casual audiences will find this utterly impenetrable to access, and even those fond of the more internalised of filmmaking documentaries will be hard-pressed to continue through its thick crust of indulgent, those who become embroiled in Cousins’ passion will find that same mood to be intoxicating, the very few however indeed.
