"Life is too short for instant coffee and Rice Krispies." – John Smith, Vanishing Sail.
This is my favourite line from the film.
Indeed Vanishing Sail is a film about the traditions of boat-building in the Grenadines but by emphasizing this part of John Smith's interview, director Alexis Andrews is pushing the audience to dig deeper, to size up the routines of instant gratification in their own lives and to do the work needed to experience a deeper sagacity of life.
The film focuses on Alwyn Enoe, one of the last boat-builders of Carriacou who practises the trade passed down the generations from the Scottish settlers who arrived in the 19th century. At one point, these traditions of boat-building were crucial to the survival of the islanders. However, with the younger generation now interested in other pursuits, these skills have all but vanished. Approaching his 70s, Alwyn decides to create a final sailing vessel before the skills introduced by his ancestors are lost forever.
Through mapping the creation of this vessel, Andrews gifts the audience the ability to witness the miracle of creation.
From the cutting of the trees that form the skeletal bones of the boat to the addition of reinforcing sinews of planking to fortifying joints of screws, nails and caulking to the fleshy materialization of sandpapered and painted decks, a masterful mast and swift sails, Andrews connects the audience to the three year journey to birth the Exodus.
"The film itself took three years, to build Alwyn's vessel," he said. "During that time I sailed up and down the Caribbean and looking for stories, for people who had a connection with boat building and I thought it would be maybe 10 people that I find with interesting stories and during the course of my travelling up and down, I did 49 interviews. We have 180 hours of footage. So then it took another two years to refine the story and a lot of people, when they heard the project was in development, began to get in touch with us and they wanted to submit photographs or pieces of music or old footage which was wonderful because it all helped to tell a wider story."
The film features several voices that have all been a part of the salt life, working on boats in varying capacities as well as a cultural scholar and storyteller from the community who give life to the history of boat-building and sailing, recounting their memories with charisma and the emotion of genuine nostalgia.
Andrews was born in Greece and studied photography in London before moving to Antigua in 1985 to work as a commercial photographer in the yachting industry.
Combined with his natural eye for framing, creativity and composition, Andrews' natural love for boat-building, sailing, as well as his respect for Alwyn, gives the film a beautiful buoyancy. Andrews lived in Antigua since 1895 and has been visiting Carriacou for over a decade, during which time he was able to build a boat with Alwyn, the Genesis.
I suspect that it is because of this true experience of the island, the people and the boats that Andrews' portrayal of the life there feels authentic and intimate. Moreover, because he is invested in the story, he gets the audience the audience to invest in the story. I felt like I was right there with Alwyn and his sons all the way through. I mean, they made a sail boat, from scratch with their bare hands. That is completely beautiful and remarkable. I marvelled at the latitude of work and felt utterly impatient to see the vessel in the water. On the launch day, as they were rolling the boat down to the shoreline, I realized I was holding my breath and only when it hit the water did I breathe a sigh of relief, happiness, pride and exultation.
The film ends with a few frames of text explaining that the family was commissioned to build another boat. Even though Alwyn has retired, the last frame captures one of Alwyn's sons walking with his own son and the audience can hope that the tradition will live on.
This is my favourite line from the film.
Indeed Vanishing Sail is a film about the traditions of boat-building in the Grenadines but by emphasizing this part of John Smith's interview, director Alexis Andrews is pushing the audience to dig deeper, to size up the routines of instant gratification in their own lives and to do the work needed to experience a deeper sagacity of life.
The film focuses on Alwyn Enoe, one of the last boat-builders of Carriacou who practises the trade passed down the generations from the Scottish settlers who arrived in the 19th century. At one point, these traditions of boat-building were crucial to the survival of the islanders. However, with the younger generation now interested in other pursuits, these skills have all but vanished. Approaching his 70s, Alwyn decides to create a final sailing vessel before the skills introduced by his ancestors are lost forever.
Through mapping the creation of this vessel, Andrews gifts the audience the ability to witness the miracle of creation.
From the cutting of the trees that form the skeletal bones of the boat to the addition of reinforcing sinews of planking to fortifying joints of screws, nails and caulking to the fleshy materialization of sandpapered and painted decks, a masterful mast and swift sails, Andrews connects the audience to the three year journey to birth the Exodus.
"The film itself took three years, to build Alwyn's vessel," he said. "During that time I sailed up and down the Caribbean and looking for stories, for people who had a connection with boat building and I thought it would be maybe 10 people that I find with interesting stories and during the course of my travelling up and down, I did 49 interviews. We have 180 hours of footage. So then it took another two years to refine the story and a lot of people, when they heard the project was in development, began to get in touch with us and they wanted to submit photographs or pieces of music or old footage which was wonderful because it all helped to tell a wider story."
The film features several voices that have all been a part of the salt life, working on boats in varying capacities as well as a cultural scholar and storyteller from the community who give life to the history of boat-building and sailing, recounting their memories with charisma and the emotion of genuine nostalgia.
Andrews was born in Greece and studied photography in London before moving to Antigua in 1985 to work as a commercial photographer in the yachting industry.
Combined with his natural eye for framing, creativity and composition, Andrews' natural love for boat-building, sailing, as well as his respect for Alwyn, gives the film a beautiful buoyancy. Andrews lived in Antigua since 1895 and has been visiting Carriacou for over a decade, during which time he was able to build a boat with Alwyn, the Genesis.
I suspect that it is because of this true experience of the island, the people and the boats that Andrews' portrayal of the life there feels authentic and intimate. Moreover, because he is invested in the story, he gets the audience the audience to invest in the story. I felt like I was right there with Alwyn and his sons all the way through. I mean, they made a sail boat, from scratch with their bare hands. That is completely beautiful and remarkable. I marvelled at the latitude of work and felt utterly impatient to see the vessel in the water. On the launch day, as they were rolling the boat down to the shoreline, I realized I was holding my breath and only when it hit the water did I breathe a sigh of relief, happiness, pride and exultation.
The film ends with a few frames of text explaining that the family was commissioned to build another boat. Even though Alwyn has retired, the last frame captures one of Alwyn's sons walking with his own son and the audience can hope that the tradition will live on.
