There are hundreds of towns turned tourist traps across the U.S. Wisconsin Dells, Wisconsin, is one such town. The self-proclaimed “Waterpark Capital of the World” attracts vacationers from far and wide—but how do these many parks and attractions find staffing? Their solution lies in “J-1s”: immigrants from across the world granted temporary work visas. They work for meager (in some cases, lower than minimum wage) pay, most of them students who are just happy to see the world and drink beer with other young people. The camera follows potentially hundreds of these young immigrants, viewing moments in their lives without comment or prelude.
The Dells contains within it a distance and hollowness that I feel runs counter to the stated goals of learning about the J-1s and their lives. While the cinematography and soundscape are fantastic at times, showing obvious loving care behind the camera, we don’t really get any of that care directed toward meeting these J-1s. Many are unnamed and credited only by sentences they said at the film’s end. We learn nothing about them, besides that most of them are naïve college kids. This surface-level portrayal felt underwhelming from the start, and that sense persisted throughout the film. Time and time again, artsy-fartsy soundscapes took center stage while I wasn’t even sure if we were following the same people from scene to scene. Without any background, narration, or simple introductory titles for the film’s main subjects, many viewers will end up like me—lost and confused.
I think there were a lot of missed opportunities throughout the documentary, including simply getting to actually know some of the subjects, getting to know those who interact with them on a daily basis (a cab driver is a frequent fixture, but we never really hear anything outside his simple conversation with fares), and discussing the COVID situation: some subjects seem to be taking precautions seriously while others never mention it. Because of its outstanding cinematography, I can see The Dells being a resource for filmmaking coursework, but outside this use, I don’t see it getting much utilization. Optional Purchase.
What kind of film series would this narrative fit in?
This film could feature in a film series exploring visual storytelling or non-narrative documentary forms, particularly works that examine labor or tourism from an indirect perspective. It might also be included in a series on the American Midwest, seasonal migration, or global labor in local economies. However, given its abstract approach, it would pair best with films that prioritize form, mood, and visual rhythm over in-depth reportage.
What academic subjects would this film be suitable for?
The Dells would be most relevant in advanced Film Studies or Cinematography courses, especially those analyzing observational or minimalist documentary styles. It may also serve as an example in classes on sound design, editing, and the role of aesthetics in nonfiction film. However, educators in Global Studies, Labor Studies, or Immigration Studies may find the film lacking in substance for thematic instruction due to its minimal engagement with its subjects and absence of cultural or economic context.