by Angelo Muredda Although it's the first of her films to be co-directed (by Manufactured Landscapes subject and Canadian photographer Edward Burtynsky), Watermark is less a departure for Jennifer Baichwal than it is the apotheosis of her style. Since 1988's Let it Come Down, Baichwal has been the most formally adventurous documentarian of the artistic process, not just profiling the work of makers as disparate as Paul Bowles and Shelby Lee Adams, but attempting to recreate their singular visions as well. In her previous film, Payback, that meant converting Margaret Atwood's lecture series of the same name into an evocative position paper about debt in all its global permutations, from blood feuds to legal restitution. In Manufactured Landscapes, it consisted of finding a way to translate Burtynsky's large-scale images of factories and pock-marked terrains into cinematic tableaux, with collaborator Nick de Pencier's cinematography of Burtynsky's stomping grounds effectively adding a sense of duration and movement to the print-bound stasis of the originals. Watermark might be the most radical variation on this approach, an abstract consideration of the interaction between water and human-made structures, carried out largely through wordless aerial photography of streams bisecting grotesque landscapes rather than the usual talking-head exposition.