Levers

A large blast erupts in the sky, giving rise to a global day of darkness. Worldwide, people huddle around the their television sets awaiting a new sun to rise, yet in Manitoba, life carries on as usual.

In an unnamed town in the province of Manitoba, a small crowd gathers for the unveiling of a statue. Draped in blood-red fabric, it remains hidden from view; as a cannon shot rings out, the screen is shrouded in a misty haze. The next morning, the sun fails to rise. An enigmatic atmosphere settles in, as grainy 16mm images and hypnotic soundscapes transform mundane details – a snowflake; sheets of paper that are blown away – into moments of wonder. Defying all conventions of narrative, the story unfolds like a dream, amid solar eclipses, wanderings, and episodes punctuated by tarot-inspired drawings, as the paths of three characters intertwine: a civil servant in search of meaning, a sculptor, and a security guard.

The syncretic world of Levers draws on a web of references, ranging from Sun Ra to esoteric and Catholic symbolism, including Louis Riel, a figure of Métis resistance. Its imaginary is deeply rooted in Manitoba’s Indigenous culture and the heritage of the Métis, the community to which Rhayne Vermette belongs. Filmed with actors and technicians who swapped roles, using battered Bolex cameras and effects created directly in-camera, this unclassifiable film embodies a form of collective, artisanal creation, which leaves ample room for improvisation. A sensory and dreamlike poem – visually dazzling and of rare inventiveness – Levers strikes us like a comet and enchants us with its haunting beauty, like a spell.

Nepheli Gambade