"Amator" (1979)

Parable of the corrupting persuasion of cinema: a simpleton purchases a camera with purpose of shooting his newborn child a new father he embarks on a new life camera-in-hand he captures everything he sees: at first, buildings, street repair, his newborn's antics, his wife's mild look of disapproval; then strangers, pigeons, factorymen, coworkers, sunlight on the windowpane, pigeons again; his reputation spreads as 'the man with the movie camera' - his the only in town - whose enthusiasm for 'it' his innate awkward urgency to film anything that moves and even those things incapable of moving: (still life, household objects, doorways to abandoned buildings, angles & perspectives that he conjures with the pseudoframe he makes w/ his hands): moves everyone, including his employers: they employ him as the head of the newlyformed film division: he shall direct commercial films on company history, factory commerce, worker morale: to great success his name uplifts the company but also his own regard knowing nothing of film yet knowing enough to pursue it, to decipher its foliate process - he travels the circuit, exudes his simplicity and praised for it he exudes sophistication, keenness: the simpleton father becomes an auteur, a figurehead, a name to watch for, whose films one waits for: he soon forgets his wife, his child, and his wife like a woman who's given birth to new flesh takes notice: she chooses to argue, to nag him, to stifle sobs and glare at his new mistress, the camera: but a mother is no longer an obsession - she is a fact, & the camera an abstraction of his life which lures him to film himself at last, in full comprehension that he had been filming his life all along, the camera inward turned, his face confronted by the lens authenticity, to which he submits his 1st confession: "I had a child, I had a wife..."
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