As the kernel-industrial complex becomes more substantive, Woolf keeps the film grounded with an even blend of talking-head discussions and slices of Iowa farm life. The experts expose a compelling schism between the consumer’s health and desire. Michael Pollan, author of The Omnivore’s Dilemma and an inspiration for the film, argues that government subsidies “reward the production of cheap corn” making Americans fatter, while former agriculture secretary Earl Butz contends that much of our economic livelihood is based on our access to cheap food.
Meanwhile, Ellis and Cheney continue to eat fast food (it’s unclear whether this is because they’re trying to “taste the corn” or if they’ve yet to learn their lesson) and talk with local farmers. In subtle, poignant scenes, we find that most no longer eat what they grow. Others have abandoned the industry altogether after being bought out by large-scale growers.
The film ends with one of these families auctioning their land and belongings, a conclusion that foregoes the expected “here’s what you can do” polemics in favor of a quiet, nonjudgmental look at the steady march of unsustainable industry. King Corn is a modest film, but it may be more effective because of it.
On the Web
SPACE Gallery: www.space538.org
Christopher Gray can be reached at cgray[a]phx.com.
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