J.M.W. Turner, as seen in Mike Leigh's exquisite Mr. Turner (2014), wanted his art to be bequeathed to the nation, but most of the National's works were intended for private collections or religious institutions, perhaps conceived for particular rooms or styles. What is a museum's role in catering to that? In a city where - down the road - questions are asked over whether the British Museum should keep the Elgin Marbles or return them to where they were intended, that's a profound point. Other scenes ruminate on the role more generally of national bodies. One scene depicts an art class for blind people, and several scenes indicate the importance of art in educating people to a wider understanding of the world.
A kooky guide in front of children presents Giovanni Bellini's The Assassination of Saint Peter Martyr, describes woodcutters in the background who ignore the saint's murder shows the tragedy of looking away from reality. But later, protesters climb the gallery façade to protest against Shell's sponsorship of an event at the museum. The film hasn't quite the cast of characters of At Berkeley, but National Gallery's aim is more fluid, more dislocated. Wiseman loves to watch visitors admiring paintings as much as the paintings themselves, and that means the only continuum is the gallery itself, its domineering portico entrance a solid foundation against changing times.
Ed Frankl | @Ed_Frankl