Big Fur Documentary: Cryptozoologists Need Love Too | Movies

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Seeing an artist at the peak of his talents invest his enviable talent in a completely chimerical project is always fascinating, even frustrating depending on your level of investment in his work. Think of Joaquin Phoenix. Not now, in the midst of his string of films that cemented his status as one of the most talented actors of his generation, but Phoenix in 2010, when he grew a huge beard and made a false attempt. to become a rapper for a mock documentary called “I am still there”. Or Lil Wayne, who released an average rock album, “Rebirth,” at a time when he was considered the best rapper alive.

That shock of disappointment is perhaps what taxidermy enthusiasts felt when they learned that Ken Walker, the “Elvis Presley” of the art form, was building a life-size Sasquatch with all of his creative resources.

Dan Wayne’s portrayal of the friendly and sympathetic Alberta artist is sympathetic both to him, as a person, and to taxidermy, as intricate art. It dates back to his childhood as an unusual child who collected insects, to his heyday, when he won world championships not only because of his technical abilities, but also because of the way he captures the essence of an animal in the “static illusion” of sculpture. Walker discusses the history of craftsmanship, from the roots of conservation to niche status as an art practiced by “the right wingers who don’t believe in art.”

Sometimes the changes in tone, somewhat exacerbated by an inconsistent score in the style, can be awkward. Part of that is because Walker likes to fool around for the cameras. (He’s also a professional-grade Roy Orbison impersonator, which he pulls off camplessly with a stunning voice. It contains multitudes.)


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