This was my third ‘photography documentary’ in a mini-fest I seem to have created through my film choices. I’m struggling to classify the film but perhaps it is an art photography doc also referencing avant-garde cinema. The Portuguese filmmakers Marco Martins and André Príncipe travelled to Japan to present the work of six Japanese photographers. They decided to present these photographers and their work in the form of a kind of travel diary shot using wind-up Russian 16mm cameras and very grainy Black and White stock. All shot hand-held and presumably using only available light, the resulting footage was, I assume, processed to emphasise effects created by harsh contrasts and smearing lights in nighttime scenes. Overall the effect reminded me of American avant-garde films of the 1950s/6os. Sometimes this worked very well, but at other times I found the bobbing heads irritating as the camera attempted to follow a particular photographer through their chosen milieu.
I missed part of the opening credits (and the introduction) so perhaps I didn’t pick up all the information I needed to make sense of the film. The photographers featured are, I think, mostly well-known in the photography world. Here’s the list: Moriyama Daido, Hiromix, Nobuyashi Araki, Kohei Yoshiyuki, Soyien Kajii, Nakahiri Takuma. But apart from a single discrete title naming each photographer when they first appear, the only chance to learn about their methods is through what they tell us – which some do in detail, but others don’t.
Many of the photographers have developed a career through photobooks or ‘diaries’ so this perhaps explains the film’s title. Out of the six, two seems to focus on the streetlife of Shinjuku in Tokyo. A third delves into Tokyo parks after dark to expose couples and their accompanying voyeurs via infra-red photography. ‘Hiromix’ stands out as the only woman and her self-portraiture acts as a contrast to the exploitation (and celebration?) of aspects of the sex industry in some of the other work. Also distinctive is the work of Soyien Kajii whose images of temples in his trips to Sado Island represent a different Japan to that of the ‘extremes’ of Tokyo.
I think that I would have appreciated the film more if I’d researched the photographers beforehand and I would watch it again given a chance.