The first feature-length film by experimental filmmaker Ben Rivers, "Two Years At Sea" watches as a former sailor, Jake Williams, lives a solitary life in the Scottish wilderness. Devoid of dialogue, we watch as Jake spends his days washing, eating, cooking, fishing and so forth. Occasionally Jake constructs simple tools with bits of industrial refuse.Jake Williams was the subject of another Ben Rivers film, 2006's "This is My Land". Both films are shot in black and white (with antique cameras), both salivate over a nature that is as beautiful as it is inhospitable, and both are slow and languid, Rivers submerging his audience in the rhythms of Jake's way of life.Most of Rivers' films have been about outsiders and the socially marginalised. Like Williams, Rivers is himself somewhat self-reliant, going out of his way to eke out a career "beyond society" and outside of convectional industries. Whilst "Two Years At Sea" does not intend this, its grim portrayal of life off-the-grid sets up several false assumptions; self-sufficiency or "back to nature" lifestyles need not be anti-social, anti-communal, low-tech or pre-civilisational.6/10 – Occasionally powerful, "Two Years At Sea" is mostly ponderous and slight. Worth one viewing.

English artist and director Ben Rivers' debut full-length fictional documentary feature which he produced, premiered in the Orizzonti Section at the 68th Venice Film Festival in 2011, was shot on location in Scotland and is a United Kingdom production. It tells the story about a middle-aged man named Jake who lives a solitary life in a house near the mountains and close to the ocean.Distinctly and subtly directed by English filmmaker Ben Rivers, this very quietly paced and somewhat fictional tale which is narrated entirely from the main character's point of view, draws a reflective portrayal of a man who leads a secluded life. While notable for it's naturalistic, prominent and atmospheric milieu depictions, distinct and very low-keyed black-and-white cinematography by cinematographer Lubomir Bakcev and use of sound and time, this artistic examination of a man and his lifestyle where the pace is in accordance with the character's pace depicts a somewhat distant and considerate study of character.This at times surreal and understated documentary which is driven by its atmosphere, is impelled and reinforced by it's fragmented narrative structure, subtle continuity, efficient silence and pivotal moments. A cinematographic, observational and meditative mystery and a diverse cinematic experience which gained the FIPRESCI Prize at the 68th Venice Film Festival in 2011.

Oh Lord, this is simply one of the dullest films I've seen in a long time. I have to advise that this contains a spoiler - that's right - there's no plot anyway. Long shots where nothing happens. Some still photos hinting at a life beforehand. A scene where we watch him sitting on his inflatable and then for fully five minutes watch as it drifts a few metres back to shore. And the long long slow finish.... Tedium beyond belief. I went as I believed in a certain review in The Guardian that suggested there was something in here which was thought provoking - "Quietly enigmatic, valuable work." Enigmatic - well yes, if you call being wilfully opaque, enigmatic. But valuable? I disagree.

There's no point clicking the spoiler button because there literally is no plot, no narrative, nothing.I get the concept, guy lives live as a hermit, he does mundane things like walk through the beautiful countryside and falls asleep loads. He doesn't need material things, he's quite content this way.Every now and then you see old photographs of his family which makes you wonder what actually happened to them. There's no clue at all. All I can think is this is the life he has chosen, or maybe he does see them but we don't see that. Either way, who really cares.Its shot in black n white with the only dialogue being socks.Some of the music is OKQuite simply one of the dullest films ever made