Difference, transience. Force and distance. The title of Orson Welles’s posthumously completed work brings to mind these words, as well as a number of images associated therein: arid landscapes, dust-devils, the ruins of industry. Silhouettes, contrasted, and odd shapes.

These are the images, at least, conjured onscreen via the imagination of old school filmmaker Jake Hannaford (part-Welles, part-Hemingway, part-John Huston, who plays the role) making, perhaps, a last-ditch effort at relevancy with his own pastiche of the type of European arthouse cinema in ascendancy at the time – the prime exemplar being Michelangelo Antonioni, whose Zabriskie Point was shot not far from one of the Arizona mansions where Welles and co. made their film. The title for Hannaford’s film is also The Other Side of the Wind, and both films (Welles’s and Hannaford’s) might just be two sides of the same wind blowing through art and life’s divide, very nearly ungraspable. […]