A Prayer For Nettie dramatizes the death of an elderly woman who was Cumming’s photographic model from 1982 to 1993, presenting an improvised series of prayers and memorials for Nettie Harris by people who knew her, and some who did not. In its ambiguous mix of tenderness and aggression, A Prayer For Nettie extends the traditions of the grotesque and the absurd. The fervent prayers of the actors are undermined by indifference, forgetfulness, and the presence of the camera. In the end, comedy turns the tables on piety and remembrance as Nettie looks up from the grave.

Obsession, fascination and confusion in a world of objects that refuse to disappear.

In one breath and, because he walks fast from one room to another, breathlessly, he tells a life story in an occasionally hesitant tone. He regards it as a way to knowledge, with many bends and side turns and with steep treacherous slopes. That way is metaphorical, but also certainly literal.

A Prayer For Nettie dramatizes the death of an elderly woman who was Cumming’s photographic model from 1982 to 1993, presenting an improvised series of prayers and memorials for Nettie Harris by people who knew her, and some who did not. In its ambiguous mix of tenderness and aggression, A Prayer For Nettie extends the traditions of the grotesque and the absurd. The fervent prayers of the actors are undermined by indifference, forgetfulness, and the presence of the camera. In the end, comedy turns the tables on piety and remembrance as Nettie looks up from the grave.

A Prayer For Nettie dramatizes the death of an elderly woman who was Cumming’s photographic model from 1982 to 1993, presenting an improvised series of prayers and memorials for Nettie Harris by people who knew her, and some who did not. In its ambiguous mix of tenderness and aggression, A Prayer For Nettie extends the traditions of the grotesque and the absurd. The fervent prayers of the actors are undermined by indifference, forgetfulness, and the presence of the camera. In the end, comedy turns the tables on piety and remembrance as Nettie looks up from the grave.

A Prayer For Nettie dramatizes the death of an elderly woman who was Cumming’s photographic model from 1982 to 1993, presenting an improvised series of prayers and memorials for Nettie Harris by people who knew her, and some who did not. In its ambiguous mix of tenderness and aggression, A Prayer For Nettie extends the traditions of the grotesque and the absurd. The fervent prayers of the actors are undermined by indifference, forgetfulness, and the presence of the camera. In the end, comedy turns the tables on piety and remembrance as Nettie looks up from the grave.

A Prayer For Nettie dramatizes the death of an elderly woman who was Cumming’s photographic model from 1982 to 1993, presenting an improvised series of prayers and memorials for Nettie Harris by people who knew her, and some who did not. In its ambiguous mix of tenderness and aggression, A Prayer For Nettie extends the traditions of the grotesque and the absurd. The fervent prayers of the actors are undermined by indifference, forgetfulness, and the presence of the camera. In the end, comedy turns the tables on piety and remembrance as Nettie looks up from the grave.

An alcoholic and potbellied fifty-year old, Pierre Lamarche has lost everything: accused of rape by Brenda, the woman he loves, he finds himself in the street after a spell in prison. Obsessed by his ex-lover, he suspects her of sleeping with the neighbours and taking up prostitution. Confiding his misfortunes to the camera in the same way as he would submit himself to therapy, Pierre considers himself rather like the producer of a film on his life. A real ham actor, he gets into his stride and lavishes his tale with exaggerations and spicy details. For his part, Cumming directs his makeshift actors, sets the scene and provokes encounters as the master of ceremonies of what he himself describes as a lowbrow novel.

An alcoholic and potbellied fifty-year old, Pierre Lamarche has lost everything: accused of rape by Brenda, the woman he loves, he finds himself in the street after a spell in prison. Obsessed by his ex-lover, he suspects her of sleeping with the neighbours and taking up prostitution. Confiding his misfortunes to the camera in the same way as he would submit himself to therapy, Pierre considers himself rather like the producer of a film on his life. A real ham actor, he gets into his stride and lavishes his tale with exaggerations and spicy details. For his part, Cumming directs his makeshift actors, sets the scene and provokes encounters as the master of ceremonies of what he himself describes as a lowbrow novel.

In his first film, A Prayer for Nettie, Donigan Cumming had placed Albert at the heart of the posthumous tribute to Nettie, his former model. One year later, he composed Cut the Parrot, a new requiem intended for Albert, who also died amid total indifference. As in his previous film, the film-maker gathered a series of eulogies in honour of the deceased from the people, some close and others not so close, who were emotionally affected by his death. But this film differs from the previous one in that it seems to be based not only on respect but also on an intense anger. Several times Donigan films his own face and angrily tells about how he was informed of Albert's death or about his visit to the morgue to identify the body. From then on the principle behind his cinematographic quest seems clearly exposed: no life, however marginal it may seem, should end in such a way, without any consideration.