Five years after This Is My Land, Rivers returned to the same locale for his first feature, Two Years at Sea (2011). This slippage between film and subject also happens at the level of the image, which, having been hand-processed, foregrounds the volatility of photographic emulsion. (In shots of fog and snow, it can be hard to tell where weather ends and film grain begins.) Crucially, though, the soundtrack holds fast to Jake’s splashing even as the camera takes to the heavens, preserving a measure of physical proximity. Perhaps; nevertheless, I can’t help but imagine Rivers back on the ground with his friend, ready to spin another yarn.