Leaning Into The Wind (PG)
In the first scene of Leaning Into the Wind, the follow-up to 2001’s Rivers and Tides: Andy Goldsworthy Working with Time, Goldsworthy, now 60, beholds a shaft of sunlight beaming down through the ceiling of an abandoned stone house in Brazil’s Ibitipoca Reserve. He scoops dust from the earthen floor and tosses it into the light. It billows and clouds. Director Thomas Riedelsheimer then employs a four-way split screen, showing Goldsworthy’s zeal to discover every interesting interaction he could have with the light. It’s art but also play — even dance.
Like Rivers and Tides, also directed by Riedelsheimer, Leaning Into the Wind is a study in seeing, in subordinating one’s self to the elements, in creating with nature rather than from it. The film ranges more widely than its predecessor, surveying more landscapes and a greater variety of projects. But it’s still a contemplative beauty, a chance to consider and be moved by a richer sort of connectedness than our lives typically allow.