This video says about itself:
THE SEASONS IN QUINCY: FOUR PORTRAITS OF JOHN BERGER Official Trailer
19 August 2016
With Tilda Swinton / A film by Colin MacCabe, Christopher Roth, Bartek Dziadosz and Tilda Swinton / An Icarus Films Release
Another video says about itself:
John Berger or The Art of Looking (2016)
7 November 2016
Art, politics and motorcycles – on the occasion of his 90th birthday John Berger or the Art of Looking is an intimate portrait of the writer and art critic whose ground-breaking work on seeing has shaped our understanding of the concept for over five decades. The film explores how paintings become narratives and stories turn into images, and rarely does anybody demonstrate this as poignantly as Berger.
Berger lived and worked for decades in a small mountain village in the French Alps, where the nearness to nature, the world of the peasants and his motorcycle, which for him deals so much with presence, inspired his drawing and writing.
The film introduces Berger‘s art of looking with theatre wizard Simon McBurney, film-director Michael Dibb, visual artist John Christie, cartoonist Selçuk Demiral, photographer Jean Mohr as well as two of his children, film-critic Katya Berger and the painter Yves Berger.
The prelude and starting point is Berger‘s mind-boggling experience of restored vision following a successful cataract removal surgery. There, in the cusp of his clouding eyesight, Berger re-discovers the irredeemable wonder of seeing.
Realised as a portrait in works and collaborations, this creative documentary takes a different approach to biography, with John Berger leading in his favourite role of the storyteller.
Director: Cherie Dvorák
By Chris Nineham in Britain:
Seeing red: the world view of John Berger
Thursday 5th December 2016
CHRIS NINEHAM reflects on the hugely influential life and work of the radical writer and art critic, who died on Monday at the age of 90
JOHN BERGER played an implausible, almost impossible, role in late 20th-century culture.
Self-exiled from Britain in the early 1960s and living half his time in a French mountain village, his words from afar provided an intimate and engaged commentary on some of the defining injustices and outrages of the era and some of the most important radical art criticism ever produced.
He wrote a series of books about the lives of peasants and migrant workers, including the photo documentary with Jean Mohr called A Seventh Man, which should be required reading in schools around Europe today.
The opening note to the reader prophetically suggests that “to outline the experience of the migrant worker and to relate this to what surrounds him — both physically and historically — is to grasp more [than any survey of] the political reality of the world at this moment.
“The subject is Europe. The meaning is global. Its theme is unfreedom.”
Despite his supreme distance from intellectual fads or fashions, he directed probably the most important experiment in the documentary form ever made for British TV.
The four-part series Ways of Seeing was a mind-blowing assault on the elitist, sexist assumptions of the capitalist cultural establishment.
It managed to be both iconoclastic and deeply insightful at the same time by insisting on locating art and artist both in their historical moment and the relations of artistic production.
Strong stuff for the BBC.
He followed it up with a stream of essays and books on art and culture that have proved, perhaps more than any other body of work in the English language, the enormous importance that creatively handled Marxism has for the appreciation of art and culture. Some of the best of them have recently been published in two excellent Verso volumes, Portraits and Landscapes.
Ever sensitive to individual artists’ dilemmas and achievements and, at the same time enraged by the barriers to self-expression produced by a society based on profit rather than need, Berger was the wise alter ego of every artist struggling to bear witness to a more and more degraded world.
His book The Success and Failure of Picasso and the recently republished essay The Moment of Cubism together constitute one of the most convincing accounts of the potential and the limits of artistic liberation.
Because he perceived culture as the active interplay between human creativity and stubborn, given reality, again and again his essays shed light on both the artists’ work and their world, as exemplified in this comment on the Romantics:
“Romanticism represented and acted out the full predicament of those who created the goddess of Liberty, put a flag in her hands and followed her only to find that she led them into an ambush: the ambush of reality.
“It is this predicament which explains the two faces of romanticism: its exploratory adventurousness and its morbid self-indulgence.”
Berger tended to radicalise with time. Looking back in 1979 to an essay he wrote in 1968 about the importance of a political approach to art, he admitted that in some respects he might have become more tolerant:
“I now believe there is an absolute incompatibility between art and private property, or between art and state property — unless the state is a plebeian democracy. Property must be destroyed before imagination can develop further.”
His radicalism was wholly reliable and outspoken. Awarded the Booker Prize in 1972 for his novel G, on air he denounced the slave-derived wealth of the Booker family and donated half the prize money to the British chapter of the Black Panther Party.
It is said that he was accompanied to the ceremony by a member of the organisation, who urged him to “keep it cool.”
See also here.
John Berger, one of the most prominent left-wing figures in the field of English-language art criticism for over 60 years, died January 2 at the age of 90: here.