In Susumu Hani’s 1972 film, The Morning Schedule, a pair of friends ponder over the 8mm films created by their friend, Kusako, who recently committed suicide, as well as those they made themselves. While there is an overarching narrative to the film — focused on a man who Kusako had a brief relationship with — the center of the film is the 8mm films themselves. You see, rather than shoot them himself, Hani had the non-professional actors serve as the ones behind the camera. In effect, the characters and actors are merged by this, as their behavior in the amateur film is, while perhaps inflected by knowledge that it’ll be part of a full film, ultimately just an expression of their actual character as people. The result is a film that can’t be said to have just one director or cinematographer, but four or five, and one that takes up a documentary quality despite its fictional nature.
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