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In Buddhism there are many questions one must ponder in order
to achieve spiritual enlightenment. These questions are very
perplexing and seemingly have no real answer, questions like
“What did your face look like before you were born?” or “What
is the sound of one hand clapping?” Recently added to the
list is “What does one make of the film Gerry?” In
the latest collaboration between Gus Van Sant, Matt
Damon, and Casey Affleck (the better Affleck),
sweeping terrain shots and little dialogue leave much to ponder.
But one thing is certain; Gerry is a film of pure despair.
Gerry (Damon) and his good friend Gerry (Affleck) are two
young men who travel to an undisclosed desert region. Appearing
to be on some sort of vacation or trip they begin hiking down
a trail searching for what they refer to only as “the thing.”
When annoying families start to crowd the trail they decide
to veer off for a while, remaining confident that they will
reach the thing just as well. When boyish competition takes
over both men begin sprinting in an innocent race, but after
about 30 seconds their poor athletic condition takes effect
and they both nearly pass out. Catching their breath they
both succumb to their Generation “Y” laziness and agree, “fuck
the thing.” But when they begin to make their way back, doubt
about their original path sets in and Gerry and Gerry begin
an incredible journey through wasteland after wasteland in
search of the way back.
Van Sant, Damon, and Affleck have taken on an intriguing
project in Gerry. The film is clearly meant to make
you feel what these two young men are feeling as they scour
desert and brush over several days, and the filmmakers don’t
let up. As a viewer one is almost punished. Van Sant uses
incredibly long, one-shot scenes of the Gerrys hiking through
the wilderness with little or no dialogue. The most noticeable
thing about this film is that of its roughly 105 minutes only
maybe 20 to 30 minutes contain any dialogue at all. Most of
the time is either spent on long environmental shots or long
shots of the two leads. It is cruel, but terribly effective.
I could feel the despair that these two young men felt, the
hopelessness, the doubt, the uncertainty. And I felt it because
I was given absolutely nothing else to feast upon. There is
nothing in this film to get distracted with. It is in your
face and it is grueling.
Harris Savides ’ cinematography is one thing that
stood out in the film (for better or worse). Whereas an IMAX
film of nature is meant to make one appreciate the beauty
and majesty of our world, the cinematography in Gerry
is meant to corrupt whatever positive feelings you had toward
mountains or tumbleweed. When you watch the landscapes of
Gerry you do not see natural beauty, you see a hopeless
wasteland and you think, “Gosh, I would hate to be there.”
Of the short amount of dialogue exchanged in the film there
are several somewhat humorous conversations toward the beginning
(before all hope is lost). Random chitchat—from recounting
old episodes of “Wheel of Fortune” to describing the events
that led to the destruction of a video game empire—is quietly
exchanged. One scene of particular comedic note takes place
when Gerry (Affleck) somehow manages to climb on top of a
20-foot rock, but sees no way to climb down. Watching the
two Gerrys bicker and engineer a plan to get him down is both
humorous and thought-provoking, forcing you to ponder what
you would do in such a situation. Unfortunately, this friendly
banter does not exist for long. The rest of the film simply
reverberates with the crunch of gravel being walked upon.
Notable mention should be given to another tool that powers
the emotional despair of Gerry, Arvo Pärt’s
stirring score. It is a simple, haunting piano melody that
resonates well within the film’s eerie bleakness.
One of the most glaring parts of Gerry is its complete
lack of anything to say. There is no recognizable message
to the film as far as I could see. Many indie or artsy movies
fall into that same empty category and pull it off with interesting
characters or environments, but, while Gerry is almost
wonderfully empty, I fear most people will leave this film
asking, “What the hell was the point of that?”
Bottom line: Gerry is different, experimental, and
draining. While some will appreciate its simplicity, others
will chastise its futility (just don’t go in sleepy).
—Corey Herrick
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out of 5
While we would never encourage anyone to destroy a video... 
