Cameraperson, Close-Up, and F For Fake are the three biggest docu-“something” movies I’ve encountered that either directly or indirectly examine truth, narrative, the camera, and their relationship. Especially the latter two, as they are operating in the same exploratory pool. Even more noteworthy is just how critically well-regarded these latter films and filmmakers are. In my mind, that’s all the more reason for a serious reconsideration of just how great Imamura was and how well he actually deserves to be known. For reference, at this time, this film only has 2.5k viewers. Close-Up has 139k and F has 73k. Has there ever been more statistical proof of being “underground?”
I’ll be honest, I didn’t enjoy watching this. I’m having a much greater time thinking about it. This is the kind of film I’ve grown comfortable with admitting I can admire without enjoying. That’s not to say my enjoyment wouldn’t change on a rewatch, but I’m not going to pretend or fabricate my feelings for the sake of saying “I get it” or “I’m part of the club.” It was a great idea (good job, past Nick) to watch these Imamura films in order. His evolution is wild and I adore this guy. He is now my epitomized director for the word “audacious.” That’s what I think of all his work.
Cameraperson, Close-Up, and F For Fake are the three biggest docu-“something” movies I’ve encountered that either directly or indirectly examine truth, narrative, the camera, and their relationship. Especially the latter two, as they are operating in the same exploratory pool. Even more noteworthy is just how critically well-regarded these latter films and filmmakers are. In my mind, that’s all the more reason for a serious reconsideration of just how great Imamura was and how well he actually deserves to be known. For reference, at this time, this film only has 2.5k viewers. Close-Up has 139k and F has 73k. Has there ever been more statistical proof of being “underground?”
I’ll be honest, I didn’t enjoy watching this. I’m having a much greater time thinking about it. This is the kind of film I’ve grown comfortable with admitting I can admire without enjoying. That’s not to say my enjoyment wouldn’t change on a rewatch, but I’m not going to pretend or fabricate my feelings for the sake of saying “I get it” or “I’m part of the club.” It was a great idea (good job, past Nick) to watch these Imamura films in order. His evolution is wild and I adore this guy. He is now my epitomized director for the word “audacious.” That’s what I think of all his work.
