Nearly ten years ago, a trove of presumed lost photographic prints and negatives belonging to the late exiled South African photographer Ernest Cole was discovered in several Swiss bank deposit boxes. Cole, born in 1940, was a critical component in the eventual overturning of the policies of apartheid in South Africa, as the 1967 release of his photobook House of Bondage was one of the first pieces of media to expose the inhuman cruelties occurring in South Africa under the hand of Prime Minister Hendrik Verwoerd (the “architect of apartheid”). Exiled as a result of this act of activism, Cole ended up in the United States, where he ultimately died—essentially homeless—in 1990. At the time, much of his work, which he had stored in a boarding house storeroom and had been unable to regain access to, was assumed to have been tossed out and lost forever, until the 2017 Swiss bank discovery. One of Cole’s last living relatives, a nephew, was flown into the country to collect these items, and found himself unable to get any information about why his uncle’s work had ended up in the safe at this bank, who had deposited it, or how they had paid for it.
Ernest Cole: Lost and Found spends some time on this Swiss mystery, and I want to get that out of the way first since it is, to me, the least important aspect of this documentary. When it was first mentioned that Cole’s assumed-lost work had been found intact and preserved in the SEB vault, I considered this a cause for joy, and it didn’t occur to me to presume malice on the part of whoever put it there. Surely, it would have to be someone who wanted to keep that material safe and preserved. If someone wanted to get rid of his documentation of social injustice, they would just destroy it, right? Once we learn later in the documentary that Cole’s mental (and physical) health had degraded to the point that he was unable to regain possession of his work before his death, one could almost imagine some Good Samaritan rescuing the work from being hauled away in the back of a sanitation truck, although this doesn’t explain how it ended up on the other side of the Atlantic. When the doc revealed that there were a remaining 504 photographs that the Swiss government was still fighting for possession of with Cole’s estate, I was a bit more convinced of the possibility of malintent on the part of whomever had spirited away Cole’s work. It was only after I started to write this paragraph that it struck me that I might be failing to inspect the colonialism of the idea altogether since any preservationist instinct that removed art from Africa to “protect” it by storing it in Europe is, well … colonialist by default. We may never know how a collection of Cole’s work ended up there, but its return to Cole’s family prompted filmmaker Raoul Peck to create Lost and Found, and it’s an unequivocal good that this film exists.
Nearly all of the footage within the film is Cole’s own, as are the words; LaKeith Stanfield provides voiceover that is taken from Cole’s correspondence and other writings, weaving together the narrative of a life. Cole talks about where he grew up, how a racist campaign of term-redefinition and expansionist neologisms led to the destruction of homes, communities, and families of native Africans under European rule. He escaped with his negatives and published House of Bondage, and as a result of his political exile, found himself adrift in a world that he had no hand in making and in which he could find little purchase. An attempt to expose the racism of the American South as he had the racism of South Africa was mounted, with Cole being sponsored by publishers to travel, but contemporary critics were less receptive to this work. Whether this is purely a matter of Western tendencies to find depictions of injustice abroad moving and empathy-inspiring while bristling when we see it in the mirror, or if there is some validity to the idea that his artistic eye was less capable of capturing the emotion of his subjects because of the cultural differences between the kind of racism that they experienced, I shall leave to your discretion. Despite the horrors of what he saw at home, his exile had a profoundly depressive effect on Cole, leaving him constantly in search of work and making it nearly impossible for him to keep a residence for long. Changes in leadership at publishing houses would mean that he was only half paid for a job and thus never finished it, and the discrepancies between how Cole would describe himself in his journals (not depressed) versus how his friends remember him to have been at the time (severely affected by depression) reveal a man who was lost, alone, and who never fully recovered from what he witnessed in his youth. Ultimately, he never did return home, although his aged mother was able to be at his bedside in New York when he died on February 19, 1990, just eight days after Nelson Mandela was released from prison in one of the defining moments in the collapse of the apartheid regime within the next few years.
This documentary is deeply felt, wonderfully composed, and unfortunately timely. The portrait of Cole that is created is a warm but not overly sentimental one. The narrative choice to use only Cole’s words is one that means that the voiceover informs but does not contextualize and, thus, requires you to build the story yourself from the juxtaposition and editing rather than having your hand held about what you should be thinking or how you should feel. One feature that stood out to me particularly was the frequent appearance of filmed political speeches and U.N. forums that, for decades, repeated the same tired canards justifying a lack of embargoes or sanctions against South Africa. “It would only harm those we are trying to help” says the U.N. president in grainy black and white footage from the 1960s, and which is said again by his successor in the 1970s, before being repeated almost word-for-word in vibrant color video of Margaret Thatcher and Ronald Reagan. I have to be honest with you; it’s bleak, and the portrait it paints of what’s in store for us in the coming years is even bleaker. When House of Bondage was released, it created a sense of moral outrage in the populace that, even at full force, was completely incapable of causing national and international leadership to take any action to end apartheid. We’ve spent the last 15 months with constant, new images of harrowing, monstrous, evil violence enacted by an apartheid state that currently exists, and the modern American is so inured to this kind of wickedness that the coalition of those who are rightly horrified is mocked, belittled, shouted down, fired, and legally silenced by conmen, grifters, and empowered bigots. If it took two and a half decades for apartheid to fall despite international (citizen-level) support for its abolition, then it does not bode well for the end of any current campaign of government terror, when people are unmoved by the plight of their fellow man. The past is never dead. It is not even the past.
-Mark “Boomer” Redmond
Swampflix 