Thirteen years ago, Ben Rivers’ FIPRESCI-winning Two Years at Sea introduced the world to Jake Williams, a former sailor living in the middle of the woods, off the grid. This year, Rivers heads to Locarno with Pojancloche, a sequel that returns to Williams’s unique abode to see how much, or how little, it has changed in more than a decade.
diverse I got exclusive access to the film's first trailer ahead of the film's world premiere in Locarno.
Produced by Rivers and financed with support from Screen Scotland, the film is screening in international competition at Locarno this year. Rediance is handling international sales for the film, which will have its UK premiere at the Edinburgh International Film Festival on 18 August.
The official synopsis for the film reads: “Contemporary hermit Jake Williams lives in Bogancloch, in a vast forest in the Scottish Highlands. The film depicts his life over the seasons, with other people occasionally intervening in his solitary life. At its heart is a song, a debate between life and death, each making its case for judgment on the world. The film is without explanation; it aims for something less recognizable, a different existence of reality observed in separate moments. A sequel to Two Years at Sea, it charts a delicately changing life in a radically changing world.”
For today's trailer, diverse We spoke with Rivers to discuss his filmmaking style, his nearly 15-year relationship with Williams, and the duo's plans to keep making these films “until one of them dies.”
Variety: How did you first meet Jake, and what sparked your interest in his lifestyle?
Rivers: I first met Jake in 2005. I was living in London and was fascinated by the idea of living in the wilderness, completely disconnected from urban society. This curiosity led me to Jake through a mutual friend. I met Jake and went to Bogancloch and helped him haul wood etc., and together we ended up making a short film called This Is My Land. The short film started a friendship that led me to visit him again and again. Over the years I have made several short films about people living off the grid. When I got more funding, I decided to revisit Jake for a longer project. Because of our established relationship, I was able to direct more and collaborate with him on scenes, making it less of a straight observational documentary.
Was your initial plan to explore the off-grid lifestyle, or did you think there was potential for storytelling there as well?
It was a combination of both. Personally, I was wondering how I wanted to live in general. I love nature, and the subject matter intrigued me. As a filmmaker, I also thought it would be interesting to document this kind of subject matter. When I met Jake and saw his evolving and diverse place, it seemed like the perfect subject for a film. Also, even though he lives alone and largely off the grid, he is very friendly and welcoming, which made it even more interesting.
How do you communicate with Jake, given his offline lifestyle?
At first, it was just a landline, which ran through the woods. Now he can access email through a dongle, though the emails he sends are short. Sometimes, he has to walk a mile up a hill to get a better internet signal. He calls the top of the hill his “Internet Café.”
You mentioned that this movie is similar in format to Two Years at Sea, can you explain that?
Both films are in black and white and shot on 16mm film, which maintains visual consistency. However, this time, I added some color shots and introduced other people into Jake’s world because he actually really likes people. I think that’s what’s interesting about him, that he’s not misanthropic. The color shots provide a glimpse into his environment, hinting at a possible future film that might explore his world more in color.
How does your approach differ from traditional documentaries?
When I shoot these films, I give a lot of directions and I do a lot of takes. From the beginning, I have some things in mind. I have some clear images and things I want to achieve in certain scenes. The final shot of the film is always in my mind, even before we start shooting.
Have you considered exploring Jake's past in your films? Or will the focus remain clearly on his present life?
I never felt the need to explain Jake's backstory in a comprehensive way. Instead, I prefer to provide subtle clues through images, music, and small details. My focus is more on the present and imagining the future rather than delving into the past. For example, Jake's history is hinted at through his collection of photos and tapes, but never explicitly explained.
How do you balance aesthetic choices with documentary content?
Aesthetically, I aim to create a dreamlike feel and atmosphere rather than an interpretive approach. For example, the black and white helps simplify the busy images in Jake’s world. The few color shots act as a teaser for a potential future film, showing his status in a different light. Overall, my goal is to create a feeling and mood that complements the content.
What are your future plans for this ongoing project with Jake?
I imagine that I will make another film about Jake in ten years. This long-term project will allow me to explore how his life and the world around him continue to evolve. I made one of my first short films with Jake, and I will undoubtedly continue to make films with him until one of us dies.
