A movie-maker shares affliction and inspiration with Paul Klee

The brand new documentary Angel Applicant (2023) is a examine in parallel lives and parallel fates.

A younger designer stricken with a uncommon life-threatening situation learns that Paul Klee (1879-1940) died from the identical ailment. Klee’s artwork turns into a bridge between the 2 of them, and an efficient technique of telling a gently private story.

The physique of Ken August Meyer is the lived expertise of this documentary that Meyer directed and narrates. Meyer felt his fingers constricting, and located the pores and skin on his face tightening, horror sufficient with out evaluating it to one thing he might need already seen in a film.

Meyer is informed that he has scleroderma, an auto-immune situation that begins with the degeneration of connective tissue—a chilling prognosis. Not solely did Klee undergo from the identical situation, however he endured its ache as Nazis eliminated his “degenerate artwork” from museums. Klee, fearing worse, fled to Switzerland, hardly a welcoming place, though he was born there.

Whereas Ken Meyer learns about his situation, he research Klee. His movie, as much as then a tactile introduction to the ordeal of scleroderma, along with his personal physique as exhibit A, enters the creativeness of an artist whom he sees as a kindred spirit.

“He’s not precisely a therapist,” Meyer says, “however he has firsthand expertise with dealing with this actual factor.”

A scene from Ken August Meyer’s *Angel Applicant* (2023) Jason Roark

In Klee’s portray Little Blue-Handed Man from 1938, which we’re proven because the movie opens, an anxious determine appears down at a hand fused right into a single kind. What might have been a cartoon is an expression of actual emotion. We get a way of the place Meyer goes right here—a way, as a result of his movie will ship surprises amongst moments of concern and resilience.

Meyer tells us that unusual signs first started along with his fingers, “which all of a sudden turned chilly and corpselike—then they all of a sudden hyped up, changing into scorching and painful.” As his pores and skin started to harden, his joints started to fuse, “leaving me with claws […] slowly altering knuckles into fingertips. What is going on to them is going on to my whole physique.”

We see faces by Klee with massive spherical eyes and rows of uncovered enamel, typical for folks along with his situation. “Did he really feel the identical approach I do, just like the bearer of an undesirable disguise?” Meyer asks.

One way or the other Meyer retains going because the illness advances. Cinematographer Jason Roark follows him, observing his fingers clench and his eyes bulge outward as his facial pores and skin tightens. Roark appears to sense the bounds of what the viewers can endure, reducing away to a Klee determine when Meyer’s bothered physique turns into exhausting to observe. A go to to the operation when the cartilage in Meyer’s fingers is eliminated will nonetheless take a look at any viewer.

Meyer’s personal darkish humour can lighten his most anxious moments. After a take a look at of his lungs on his fortieth birthday exhibits the perform degree of a 143-year-old man, Meyer orders an enormous cake with 143 candles, and miraculously blows all of them out, in entrance of his spouse, daughter and pals.

In want of better miracles, Meyer finds extra in his bond with Klee, who made drawings of angels in his final years. With titles like Check of Endurance (1939), Forgetful Angel (1939) and When, The place, Wither (1940), these figures, drawn with ambiguity and wit (as Klee drew nearly every thing), have a softness and vulnerability. “They’re imperfect,” Meyer says. “For me they’re fairly sceptical, however not with out hope.”

Viewers can uncover the movie’s finish for themselves, but Meyer finds inspiration in Klee with out making his work a roadmap, which wouldn’t have labored anyway. Klee’s inescapable humour (together with Meyer’s) and his humanity preserve you with this story of affliction and preserve the story from being what these accounts are usually—chronicles of tense medical doctors’ visits, tearful households and beeping diagnostic machines.

In a movie that exhibits us a lot of what Klee produced (particularly in his final years), Insula Dulcamara, painted on newsprint in 1938, stands out for its sheer measurement. In faint spring greens, blues and pinks and a coded panorama in thick black strains, it’s the island of Calypso from The Odyssey. For Meyer, it’s the hope that Klee discovered when every thing round him negated it.

It doesn’t preserve Meyer from restating a grim truth—greater than two million folks have some type of scleroderma.