| Credited cast: | |||
| Vincent D'Onofrio | ... | Guy | |
| Hope Davis | ... | Camera | |
|
|
Kimber Riddle | ... | Veronica |
| Diane Salinger | ... | Gail | |
| Richard Portnow | ... | Al | |
| Valente Rodriguez | ... | Low Rider | |
| Michael Massee | ... | Mark | |
| John F. O'Donohue | ... | Detective | |
| Lucy Liu | ... | Woman at Newstand (as Lucy Lui) | |
| Rest of cast listed alphabetically: | |||
| Sandy Martin | |||
A young, female filmmaker looks through her camera for an object to film. She wants to film the private live of an ordinary person and starts following Guy. He is very irritated about this girl following him, always looking through her camera, never showing herself. She does not even say her name but follows him even home to his bedroom. He tries to get rid of her but she does not stop. After a while he gets used to the camera and the girl behind it and tries to get involved with her. First she protects herself with her camera but cannot keep the barrier up. When their feelings and Guy's actions become too confusing for them Guy disappears mysteriously. However, he comes back; with a camera. Written by Gerhard Windecker <g.wind@mbox300.swipnet.se>
Experimental films are praiseworthy for being just that. In the present instance, however, there is little else to recommend this one.
Since most films are by nature dramatic, going beyond the commonplace by way of revealing truths requiring vivid action or language, one important measure to be kept in mind is that they are also selective of this or that bit of new or unique presentation allowing us to appreciate the art of the author, the director, or the actors themselves. Just aiming the camera and saying "action" and then allowing the thing to develop sans editing defeats any purpose intended.
Guy is an example of home video run amok. Moreover it denigrates women in general by featuring a main character whose sole reason for existing seems to be draping his doughy body over every female in sight before vanishing into the mist. It just begs the question to try to justify this cinematic gambit by claiming how "true to life" or deeply introspective it might, as if by accident, be. Second-guessing the experiment, however novel it may at first seem, is not my idea of fun at the movies.