Exploring the nuances of touch in ‘Collective Monologue’
A filmmaker’s journey into the world of interspecies connection
British-Argentine filmmaker Jessica Sarah Rinland has always been fascinated by the power of touch. In her latest film, Collective Monologue, she delves deeper into this theme, exploring the intricate interactions between caretaker Maca and the animals at the Buenos Aires Eco-Park. This film not only highlights the tender moments of care but also brings to light the complex politics of captivity inherent in institutions like zoos.
The essence of touch
Rinland’s interest in hands and touch is deeply rooted in her exploration of process, labor, and tools. As she explains, her multi-disciplinary career, which spans book-making and installation work, has always been about alternative modes of perception. Her films and the tools she uses are a natural extension of her interests and desires.
In her own words, “They are things that I like and the things that I want to see.” This personal connection to her work is evident in her previous short films, such as Expression of the Sightless (2015), where a blind man experiences a statue through touch, and Ý Berá – Bright Waters (2016), which questions whether it is possible to assume the perspective of an animal through filmmaking.
Interspecies touch and labor
In Collective Monologue, the concept of interspecies touch takes on a new dimension as labor becomes intertwined with care. One poignant scene captures a moment of touch between Maca and Venus, a howler monkey, where Maca’s hair becomes intertwined with Venus’s. This blending of bodies symbolizes the deep connection and mutual care between the caretaker and the animal.
These affective scenes highlight the film’s central conflict: the tension between the labor of individual caretakers and the institutional politics of captivity. Rinland’s interest in the Buenos Aires Eco-Park was sparked in 2019 when she noticed the architecture’s resemblance to the Berlin Zoo. This architectural mimicry, intended to represent the animals’ native habitats, underscores the absurdity of trying to recreate natural environments within the confines of a zoo.
A nuanced perspective
Rinland’s approach to filmmaking is not about taking a firm stance but rather exploring the gray areas and nuances within these spaces. Her connection with Maca and the workers in the zoo mirrors her previous films’ focus on collaboration and learning. She emphasizes the importance of being open to different ways of thinking and knowing, which is why she prefers to work with 16mm film. The materiality and discipline required by celluloid allow her to immerse herself in the environment and truly listen to her subjects.
Beyond sight and sound
Listening to animals involves paying attention to modes of perception beyond sight and verbal communication. Rinland’s films embody an “anti-language” approach, focusing on texture and the interactions between different beings and their environments. For her, sight and sound are just two ways of engaging with the world. One of the main inspirations for Collective Monologue was an essay about animal smells written by the Eco-Park’s second director, Clemente Onelli. This essay influenced her desire to create a film that captures the essence of these sensory experiences.
A blend of influences
Rinland’s work is a unique blend of experimental and educational filmmaking. She draws inspiration from filmmakers like Chick Strand and Jonas Mekas, as well as Mary Field and Percy Smith. Her films bring together a diverse array of people, animals, camera formats, and philosophical ideas. Collective Monologue is a patient and expansive work that weaves together commentary on labor with rich observations about the dynamics between animals and their caretakers.
For those interested in exploring the film further, you can watch the trailer for Collective Monologue.
Final thoughts
Jessica Sarah Rinland’s Collective Monologue is a profound exploration of touch, labor, and the complex relationships between humans and animals. Through her unique approach to filmmaking, she invites viewers to consider alternative modes of perception and the intricate dynamics within spaces like zoos. Her work is a testament to the power of collaboration and the importance of being open to different ways of knowing and experiencing the world.