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Thursday, February 27, 2014
Tuesday, February 11, 2014
Camera Buff (also known as Amateur) was not Kieslowski’s first feature-length narrative film (he had previously shot both The Scar and The Calm in 1976) but it was his first truly accomplished fictional work. Like his later more well-known works, including Blue (1993) and Red (1994), Camera Buff shows Kieslowski as a supremely gifted artist and storyteller and it remains a sometimes dazzling, if mostly subdued, opening chapter to one of the most important film careers of the modern era.
Relatively successful middle-class factory worker Filip Mosz and his wife have recently welcomed a newborn baby into their lives. Filip buys an 8mm film camera with the hopes of capturing his new child in the early stages of its life. What he thought would be an innocent hobby turns serious when his boss asks Filip to begin using the camera to film his company’s board meetings. Soon Filip has a film crew at his disposal and his once happy life is altered as he becomes more and more obsessed with the idea of capturing what is real, even if it means putting his marriage and career in jeopardy.
Camera Buff is a significant film in not only Kieslowski’s career but also Polish film in general, as it manages to be not only a truly transcendent personal work but also a pointed political one, as it carefully criticizes the cloud of censorship that had hung over Kieslowski’s generation. Kieslowski shows the process for a young filmmaker to be a difficult one, as personal visions were often subjected unfairly to an outside authoritative hand.
Camera Buff is, at its core, an extremely serious film but it contains the particular kind of wit and warmth that seems specific to certain Kieslowski works, like the often-undervalued White (1993). Few directors have ever come close to matching Kieslowski’s ability to get inside the spirit of a soul in transition and Filip, like Kieslowski’s greatest characters, is very much a man in crisis but by the film’s final frames, in which he bravely turns the camera on himself, he has had a very valuable and necessary spiritual breakthrough.
While it lacks the refinement of Kieslowski’s later films, Camera Buff is a beautifully composed work that shows the influential filmmaker stepping away from the grittiness of his early documentary style and into a more polished cinematic technique.
-Jeremy Richey, a rejected Directory of World Cinema piece from a few years back revised in 2014-