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The film no doubt entails a certain narrative trajectory, a recording of action through real space rather than a purely cinematic event at the site — as it were — of the screen. And, in some sense, we identify with Keitel, even if he’s grotesque and morally questionable at best.
Aron (James Franco) is always snapping away. He has a video camera attached to his mountain bike. When he falls hard off his bike, before getting up, he snaps a picture. One could no doubt read this as a watering down of the purity of his event, living in the document rather than the real thing.