I can see something true through the camera that is not immediately visible. If I start from you and your expectation as a participant of what cinema should be, you will start staging yourself, you’ll start acting out an idealized image of yourself, you’ll start acting out the fantasies that you hold of yourself. And I’ll be able to know how you dream of yourself, how you imagine the world. And that’s also how I tried to use the camera, especially in The Act of Killing. And I think that’s the state of nature for the non-fiction camera. If I put a camera on anybody, they start to perform. And from that performance we can see how people want to be seen. And we can infer how they really see themselves. In short, we can see the role of fiction storytelling and fantasy in constituting our apparently factual reality.
Sparse highlights from the great spinning sphere of publication.