The Seasons in Quincy: Four Portraits of John Berger review - Tilda Swinton's demonstration of affection

Here is an impressively high-minded documentary about writer John Berger – conceived, apparently, by Tilda Swinton in the same spirit as the 2008 film Derek about film director Derek Jarman. The Seasons in Quincy does indeed come across as a reverential love letter to a mentor and father figure, though Swinton is not solely responsible for the result. Produced via Birkbeck college’s Derek Jarman Lab, Quincy comprises four films about Berger: one directed by Swinton, another by Derek producer Colin MacCabe, and the other two by Christopher Roth and Bartek Dziadosz. It’s fair to say, however, there are no strict boundaries: people cross over and pop up in their collaborators’ films, filling different roles as the need arises. But the focus, of course, is Berger – still, in his 80s, a figure of considerable charisma and clearly held in high esteem and affection by all involved.

The first film, MacCabe’s, is called Ways of Listening – a reference to Berger’s celebrated early-70s book and TV series. It boils down, largely, to an extended conversation between Swinton and Berger at the latter’s home in rural France, the village of Quincy (pronounced Ka-see), in the course of which much of Berger’s commitment to upholding the “peasant” lifestyle is revealed. It’s an informal, affectionate piece, dominated visually by the snowy weather they encountered – and set the tone for the cycle-of-seasons theme the full film develops.

The second piece, Spring, directed by Roth, is undoubtedly the most unorthodox and experimental-ish. Unhappily, Roth had to take this approach after the death of Berger’s wife Beverly, which meant that the original subject, understandably, absented himself from proceedings. Roth’s solution is to focus on what Berger appeared to love about Quincy – the animals, the landscape, the work in the fields – and creates an enjoyable concotion, sometimes funny, sometimes surreal.

The third section, A Song for Politics, co-directed by Dziadosz and MacCabe, is, I have to say, the least successful: an awkwardly staged “discussion” of contemporary politics, which, if nothing else, demonstrates that some things are better written down. But it is at least enlivened by clips of Berger’s TV shows in the 60s and 70s, including one where he unapologetically announces he is a Marxist. (I’d like to see someone try that today.)

The final part, entitled Harvest and directed by Swinton, returns to the diaristic, home-movie style of Ways of Listening, as she brings her teenage children to Quincy for an autumnal visit. Again, the affection and respect that Swinton holds for Berger is clear, and the kids certainly seem to have a great time, making candles, riding motorbikes, connecting with Berger’s own grown-up son. Swinton also seems to have access to a drone-based camera, which gives her some spectacular shots of the local terrain.

As a collection, The Seasons in Quincy certainly hangs together; it’s also an absolutely inspired way of approaching its subject. If the outcome is a little uneven; well, that’s the price that sometimes has to be paid.