Isolation Is Their Preferred Place

It might add comfort in our continuing isolation to watch the stories of people who are isolated by where they choose to live. ‘Choose’ is the key word here — these folks wouldn’t want to live anywhere else.

I watched the documentary Children of the Arctic, described as “a portrait of five Native Alaskan teenagers growing up in Barrow – the northernmost community in the United States.” The town (since renamed Utqiagvik) has unique challenges, including the all-too-apparent effect of climate change on its way of life, a loosening of revered traditions, the months of total darkness, and the depression that overtakes its residents. A couple of the teenagers do leave for a bigger city — but then they come back. What we see as isolation is their preferred place, a home they won’t give up. [LINK]

The next night I watched Darwin, which profiles the 35-strong population of the dying town in Death Valley, California, that gives the film its title. It’s a place where people go to hide, though not necessarily from the law. The mines are long-closed, as is the Black Metal Saloon, but the residents love living in Darwin and sing its praises throughout the documentary’s run-time. [LINK]

The musical score in Children of the Arctic is remarkable — gorgeous and droning and fitting the views of northern lights and snowy vistas. I noticed, in the credits, that Michael Brook is responsible. Then Darwin‘s score also grabbed me, with lonely, far-away guitar riffing and desert-toned passages. I watched the credits and — again! — Michael Brook. What a coincidence, right? Not really, as I realized the same director is responsible for both films: Nick Brandestini. This double-feature was not intentional, and I wasn’t familiar with Brandestini beforehand. But now I’m looking forward to seeing his latest documentary, Sapelo. From the IMDb description — the film takes place on “a unique American island” — it appears to also involve isolation by choice.