This film's runtime was only 76 minutes but felt like the longest film ever made. Watch on 2x speed if you can, might make it more bearable to sit through.
I do really enjoy the subject matter however. While watching this you assuredly get a sense that Morris really respects the art of photography and of the vintage Polaroid, as he portrayed Mrs. Dorfman under the most awestruck, humble, and reverent lens he could have mustered. For this I give him credit, as the works of art do speak volumes of beauty in their own way, and evoke that nostalgic feeling that's impossible to put into words.
My major critique here is with the pacing and content. In Morris's earlier (and better) films, there is just more to them in every way. More people sharing their perspectives, more to the story, more content, more to absorb. In this, it's ONLY Mrs. Dorfman, for 76 minutes. While she is certainly not unbearable to watch or listen to, I would've greatly preferred either a break from her, or just a smaller dose of her altogether -- a shorter film. Heck, at least a different location! Over half the film is just her in that same room.
Finally at almost an hour into this never-ending film, we get to the good stuff: the "B-sides". She takes 2 photos of each client, and they pick the one they like better. So she has built up an enormous collection of the "rejects" and keeps them in her home. Cool concept, but I think the film should have just started there, and been only 20 minutes long. The first hour feels almost extraneous, other than perhaps the Bob Dylan part and the parents' death -- that was pretty emotional.
The music was absolutely beautiful, huge credit to Paul Leonard-Morgan. It definitely fit the theme with its minimalist feel.
Overall, the story of this woman is fascinating and the editing and music were good, but the content needed more variety, or just less runtime. It was difficult to even make it through the whole thing, surprised I did.
I do really enjoy the subject matter however. While watching this you assuredly get a sense that Morris really respects the art of photography and of the vintage Polaroid, as he portrayed Mrs. Dorfman under the most awestruck, humble, and reverent lens he could have mustered. For this I give him credit, as the works of art do speak volumes of beauty in their own way, and evoke that nostalgic feeling that's impossible to put into words.
My major critique here is with the pacing and content. In Morris's earlier (and better) films, there is just more to them in every way. More people sharing their perspectives, more to the story, more content, more to absorb. In this, it's ONLY Mrs. Dorfman, for 76 minutes. While she is certainly not unbearable to watch or listen to, I would've greatly preferred either a break from her, or just a smaller dose of her altogether -- a shorter film. Heck, at least a different location! Over half the film is just her in that same room.
Finally at almost an hour into this never-ending film, we get to the good stuff: the "B-sides". She takes 2 photos of each client, and they pick the one they like better. So she has built up an enormous collection of the "rejects" and keeps them in her home. Cool concept, but I think the film should have just started there, and been only 20 minutes long. The first hour feels almost extraneous, other than perhaps the Bob Dylan part and the parents' death -- that was pretty emotional.
The music was absolutely beautiful, huge credit to Paul Leonard-Morgan. It definitely fit the theme with its minimalist feel.
Overall, the story of this woman is fascinating and the editing and music were good, but the content needed more variety, or just less runtime. It was difficult to even make it through the whole thing, surprised I did.