Back in the 1990s, the filmmaker and architectural scholar Patrick Keiller made a pair of films about Britain. As much video essays as they were documentary films, London (1994) and Robinson in Space (1997) were concerted attempts to find the true spirit of Britain that had been buried by a decade and a half of Thatcherite rule. Sensing that the wheels were coming off the Tory juggernaut and that a fresh start would soon be required, Keiller used the eccentric academic Robinson and a wryly-comic unnamed narrator to sift the wreckage in search of gold. Unfortunately, despite the best efforts of Keiller’s intrepid explorers, the project was a political failure: Britain, much like its capital city, was a place devoid of any truth that could not be measured in pounds, euros, dollars or units of industrial measurement. London and Robinson in Space are films about the defeat of the romantic spirit and the absolute victory of neoliberalism.
Over a decade later, Keiller returns with Robinson in Ruins, an unexpected addendum to the Robinson duology. With the narrator dead and Robinson gone, the narration has fallen to an equally unnamed female public sector worker (voiced by Vanessa Redgrave) who discovers Robinson’s footage and notes in an old caravan on a site destined for re-development. Made at the height of the credit crunch, when the towers of Capitalism tottered and nearly fell, Robinson in Ruins is far less pessimistic than either London or Robinson in Space. Eerily apocalyptic and as visually arresting as all of Keiller’s work, Robinson in Ruins suggests that humanity’s salvation may lie in communion with non-human intelligences.