Canadian director Amalie Atkins follows Agatha Bock over six years, documenting in meticulous detail Bock’s expert care of her garden, the garden that provides her fruits, vegetables, and, most important, a rewarding life. Bock is, in essence, a one-woman farmer of her fifty-four ancestral acres, though most of her attention goes to cultivating her beloved garden. This is no small feat given that Bock will turn ninety during the course of the film, will face serious health events, and lives alone in a century-old farmhouse without running water most of the time. Along with her disinterest in the busy Canadian world of the nearest city of Winnipeg, Agatha doesn’t have or want a cell phone, a car, or even a landline. And yet she confidently and calmly asserts, “You can have a life of joy and hope and love, but it’s not always easy.” Her recounting of the deaths she has grieved confirms Agatha’s emotional challenges, difficulties she faced with deep sorrow and resilient courage.
This is demonstrated many times over in the course of following Agatha through the seasons, through drought and rain, through successful crop yields and lesser ones. Watching and listening to her in direct address to the camera and in voiceover commentary, Agatha’s immense knowledge emerges: how to properly plant seeds, ways to defeat cutworms and other destructive insects, when and what to harvest, how to preserve the freshness of fruit and vegetables, how to collect rainwater, and more. Single all her life, Agatha tells of the four beaus she rejected, one because he was Catholic. She adds humorously, “Though I’m a Christian, I would never marry a Catholic.” Another man was too cheap, yet another lasted only one date. With no regrets, Agatha asserts, “I’ve never been lonely because I’ve always had something to do.” Watching her daily routine validates her assessment. When she first enters the frame, she moves with purpose, deliberately across the garden, a bright red figure, slightly bent over, but clearly in control and enjoying her uninterrupted activity.
Technically, director Amalie Atkins’ choices are the perfect complement to Agatha’s world. Shot in 16mm film with only occasional, subdued music, the film’s natural world unfolds as it should, neither highly manipulated nor rushed. Shots sometimes flare as a camera reel ends. A lovely touch, the embroidery on the titles and end credits harmonize with Agatha’s homemade world. And Atkins’ editing captures Agatha’s actions at the unhurried pace that defines her rhythm. In addition, the weathered farmhouse contrasts with the vivid colors of the flowers and the farmhouse interior filled with produce and Agatha’s processing of it.
Most impressive of all, Agatha proves a wonderful companion for the eighty-seven minutes we share her world. Within seconds, with her engaging warmth, she feels like a friend for decades, one who prompts a valuable evaluation of our busy, often hectic lives, lives to which Agatha offers a beautiful, inspirational alternative. Embracing her life, Agatha has long ago accepted that, despite all the chores that need attention, “I know that I can’t do them all, so I just do what I can and don’t worry about the rest. It’s a privilege to be alive, every day.” And it’s a privilege to share time with Agatha. “Agatha’s Almanac” screens at Webster University’s Winifred Moore auditorium one night only, Sunday, June 21, at 7:30 p.m. For more information, you may visit the film series website at: Webster.edu/filmseries