Gus Van Sant's film Gerry is a lot of things: a singular and immersive cinematic experience; an absurdist comedy with plenty of tragedy and horror in the mix; and a compelling homage to the works of Béla Tarr. In his new book, Nicholas Rombes memorably deconstructs the images, themes, and influences that shaped Gerry and makes a compelling case for it as the precursor to an entirely new genre. It's a thoughtful look at a cult classic and a powerful argument for the staying power of this haunting narrative. A meticulously-crafted look at a meticulously-crafted film. * Tobias Carroll, Writer/Editor, USA * While Rombes' minute-by-minute reading of Gerry falls somewhere between Salvador Dalis critical paranoiac method and Roland Barthes code wizardry in S/Z, this erudite narrative about a difficult film is both lucid and entertaining. This is the work of an obsessive fan equipped with an admirable grasp of film theory, cinematic history, media philosophy, and high-brow Hollywood trivia. In a technocapitalist regime that promotes doom scrolling, tiktok zombification, and the restriction of thought to 280 characters, what Rombes accomplishes here is a triumphant feat of sustained and careful attention. Gerry A (the book) is a thrilling joy ride to accompany the land-loping hallucination that is Gerry B (the film). Power on to the thing! * Marcel OGorman, Founding Director, Critical Media Lab, University of Waterloo, Canada * In this brilliant book, Nicholas Rombes takes a deep dive into one single movie: Gerry (Gus Van Sant, 2002). But in examining this single film in depth, Rombes also explores movies and the world in breadth, moving laterally to consider all sorts of questions about truth and fiction, the workings of narrative, the uses of technology, his own hopes and memories, and many other things.
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