Anticipation.
A documentary about nothing in particular with rock star Iggy Pop’s voice as standalone cast.
Enjoyment.
The shots are outstanding, but what feels like a motley collection of thoughts ultimately makes for a puzzling whole.
In Retrospect.
Quotes from the film linger in the mind as it starts its late-night questioning of the universe.
In Praise of Nothing, from director Boris Mitic, is the result of a collaboration between 62 cinematographers across 70 countries, who combined their talents over eight years to produce this culturally and intellectually diverse visual essay. It is as much a parody of the documentary form as it is a conceptual monologue.
Despite its title, the film offers an abstruse reflection on more than a few things – although it’s always clear exactly what is being reflecting on. The concept of nothingness it brought to life through the character of Nothing, who expresses a variety of ideas using rhyming dialogue and hopes that audience members will be able to build their own movie.
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Notes that are taken from an old film’s credits sequence introduce Nothing, who is voiced by Iggy Pop, questioning what he/it observes during a weekend on Earth. His narration is generally disconnected from what is shown on screen and often dwells on existential, open-ended interrogations. Nothing addresses the lives of Asians, Arabs, Europeans and their attempts at dealing with the notion of nothingness. He offers a contemplation of existence, human relationships, politics, morality and the arts, all from an all-encompassing, god-like vantage.
The film comprises a compilation of mostly motionless shots which alternate between breathtaking landscapes, abstract imagery and more mundane scenes – all of which are artistically pleasing and engaging. Their common trait is a quiet celebration of everything the world has to offer, obtained without really filming anything in particular. Humans, animals, nature and objects are in turn given the spotlight, and each are depicted from poetic angles.
The film could be about the urgent, modern necessity of quiet observation. It is also an ode to the ability of cinematographers everywhere to sublimate the environment around them and transcribe their vision to the screen.
