William Eggleston in the Real World (2005)
Average Rating: 7.2/10
Reviews Counted: 18
Fresh: 16 | Rotten: 2
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Average Rating: 7/10
Critic Reviews: 9
Fresh: 8 | Rotten: 1
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Average Rating: 3.4/5
User Ratings: 467
Photographer William Eggleston created a sensation in the art world in 1976 when a collection of his work went on display at the Museum of Modern Art. While the Memphis native's work went against the grain of the conventions of art photography of the day with their heavily saturated colors and oblique, seemingly careless framings, in time critics developed an enthusiasm for his work, and one critic cited the show as "the beginning of modern color photography." Filmmaker Michael Almereyda is an
Aug 31, 2005 Wide
Feb 14, 2006
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An uncannily revealing portrait of a major American artist at work, all the more remarkable for the deceptive casualness with which it unfolds, as if Almereyda had just shown up.
William Eggleston in the Real World offers an admiring and affectionate, if also unillusioned, view of its subject at work, play, and not much of anything (a suitably Egglestonian activity).
The result isn't particularly mesmerizing, but it does offer a well-rounded portrait that will be of particular interest to photography lovers.
Eggleston's rigor might be mistaken for languor, but Almereyda has just the temperament to get it right.
Ultimately, biodoc is less about Eggleston living in the 'real world' than about Almereyda filming there.
Consistently more intriguing than Almereyda's recent documentary of a Sam Shepard play rehearsal (This So-Called Disaster), in part due to the subject's taciturn nature and his disinterest in the hows and the wherefores of his craft.
There is a sense of impromptu genius, of exactitude colliding with suddenness as the seemingly banal is rendered, for a moment, vividly permanent. Eggleston's photos force the viewer to behold the beauty of the commonplace.
Watching "William Eggleston in the Real World" is frustrating but intriguing.
Eggleston is obviously wired a little different than most of us, like all real artists, he sees things most of us don't...
As a subject, he's reluctant to navel gaze, and his words -- subtitled because of his low, mumbling speech -- rarely provide an insight into his talent.
At times, the cinema verite style suggests the 'psychic disarray, intimately observed' (Almereyda's words) of Eggleston's own 1970s video project, 'Stranded in Canton'...
Without slavishly imitating the photographer's distinctive style, Almereyda also manages to connect his own images to all that's 'Egglestonian' in the photographer's world.
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