Some say, â€œFrom each according to their means to each according to their needsâ€. Some say, â€œDo as you would be done byâ€. But very few live up to either of those incontrovertible principles.
And though I have witnessed several decent people buy sandwiches for homeless individuals in Brighton where I live, I have never heard of anyone going so far to help as Å½elimir Å½ilnik.
In 1971 the Yugoslav filmmaker found a group of rough sleepers and invited them home to the one-bedroom flat he already shared with his wife and young child. This he also filmed.
In a sense they were an artistic project. But film becomes a means to an end here. That end becomesÂ the rehousing of half a dozen fellow human beings who have fallen on hard times.
Their arrival comes as an apparent surprise to his wife. Together they move the coupleâ€™s double mattress into the childâ€™s room as the tramps collapse into recumbent forms in the front room.
In the second part of this pragmatic experiment, Å½ilnik hits the streets again in search of public support for his new flatmates, or at least some good advice about what he should do with them.
The lasting impression is one of irresolution. These six characters in search of an author seem to have been left to once again fend for themselves. None of them remember their housetraining.
Black Film is a valuable social document. For starters, it asksÂ the What If? question that must be asked every time you cross the road to evadeÂ the needs of a vagrant in abject poverty.
It also alerts you to the fact that even socialists can fail the most needful in society. Even socialist states can fail to provide a safety net for those whose needs are greatest.
In the UK, homelessness is the most visible of the troubles of the world. It has got worse in recent years. Itâ€™s a major problem, but since I’m not a Black Wave filmmaker, it’s not a personal problem.
Because really, Å½ilnik stages the unthinkable: an act of Christian charity or, more likely, Marxist direct action, which remains for most of us as impossible as it is imperative.
Black Film can be seen in Monuments Should Not Be Trusted at Nottingham Contemporary until 04 March 2016.