Premiering on the first day of the Sundance Film Festival, Kim’s Video is the perfect Sundance documentary, a playful and intelligent film that teases one thing and delivers quite another. Just as …
is the perfect Sundance documentary, a playful and intelligent film that teases one thing and delivers quite another.
The public face of the film, co-director Redmon is from the Nick Broomfield school of deceptive diffidence, first seen stopping baffled passers-by on St Mark’s Place for clues to the shop’s former whereabouts . The once-fabled landmark seems to have melted into the ether, but this collective amnesia will turn out to be one of the film’s driving forces;isn’t just a feature-length moan about gentrification or the passing from analog to digital, it’s a film about not taking no as the first answer.
The standard wisdom is that in 2008, despite offers from within the U.S., Kim unexpectedly donated his collection to a small town called Salemi in Sicily, with the proviso that existing members of Kim’s stores could visit at any time, and that the new owners would, at some point, digitize the collection for posterity. It seemed to be too good to be true, and obviously it was, because, after that, nothing else was heard.
The story of Kim and what happened to his collection of 55,000 “weird movies” after it arrived in a town that was almost wiped out by an earthquake in 1968 would be rich enough to sustain the film itself, revealing sophisticated, creative corruption of the kind that will be familiar to aficionados of recent Italian cinema.
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