In the Shadow of the Light

‘Documentary… it’s when somebody makes a film on a certain subject with the intention of revealing, telling everything about it that is important. It is the kind of film I hate.’ So says Jonas Mekas somewhere in the middle of this film, which is more document than documentary. Don’t expect introductions or explanations or facts (for example, that Jonas Mekas was born in 1922 in Lithuania, moved to New York after WWII, is considered to be the godfather of American avant-garde films and the inventor of the diary film, is the founding father and artistic director of Anthology Film Archives, etc). This is not a standard biography.
Jonas wanders the hallways and rooms of his archive, or holds court at the round table in his room. Around him the work of Anthology goes on: archive, cinema, meeting place, and as one worker tells, home for lost film rolls. A young Italian student arrives to research the films by Harry Smith. Two programmers prepare for the Joseph Cornell centenary. Boxes are opened, treasures are discovered. Films are screened. Days and nights pass, visitors come and go. Old friends arrive, drink wine and recite poetry. In passing we hear small fragments of history. The camera stays close by, sometimes awkwardly. A film about love for the moving image, in particular the small, fragile, independent work which Anthology preserves and promotes, and which Jonas Mekas himself personifies.