There is “film experimentation” and then there is film experimentation. Junichi Okuyama definitely belongs in the second category, as he experimented with film as material in order to come up with experimental films, in a meta concept decades before the term was even known.
Film Fetish screened at the International Film Festival Rotterdam
Yu Kaneko followed Okuyama for some eight years observing him making, showing, talking and even singing about his films, and came up with a unique portrait of a truly unique artist. In that fashion, we watch the latter create music by using the material and machines used to edit film, take film from the garbage and work on it to create film, and in general, creating movies that are as original and experimental as his whole process of creating them is. Furthermore, it is always a pleasure to watch Okuyama talking about his procedures, in a practice that occasionally includes him singing, acting, lecturing and exhibiting, in sequences that can only be described as performances, or even shows if you prefer.
Yu Kaneko also walks us through the various projects Okuyama underwent through the years, the “Film Deconstructing Project”, the “Film Constructing Project” and the “Film Discovery Project” thus presenting the changes that both the creator and the analog material underwent. In that fashion, and as we hear Okuyama speak, his bitterness about the lack of film nowadays is also highlighted, giving the documentary a dramatic hypostasis through the highlighting of a man who sees his art becoming obsolete. This however, gives “Film Fetish” even more value, fulfilling one of the key purposes of the documentary, of archiving in order not to let people forget about things that time deems bygones. Lastly, interviews of collaborators and students of his work, complete this rather thorough portrait.
Considering the nature of the subject, the documentary also moves into experimental paths, particularly through the footage of Okuyama’s movies and his performances, while Yuki Mochizuki’s editing also moves into similar directions, particularly when it focuses on the works and not the man. Furthermore, at 66 minutes, the film definitely does not overextend its welcome, in an approach that definitely helps its viewability.
“Film Fetish” is an exceptional documentary that takes the term ‘meta’ to another level, and one of those films that definitely deserves a watch both for its subject matter and its overall approach to the medium.
