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It’s Real (1990)

ALL 01/01/1990 (en) Documentary 60 Min
  • Release
    01/01/1990
  • Production
  • Rotten tomato
    58%
  • Original title
    C'est vrai
  • Original language
    en
  • Production Cost
  • 0.00
    -

Manhattan. July 26, 1990. 15:45 ~ 16:45.

Overview

One of the longest handheld tracking shots in film history, It’s Real documents an hour in the street life of downtown Manhattan. Not only is it a unique record of a particular time and place—July 26, 1990, from 3:45 to 4:45 p.m. in the Lower East Side near Robert Frank’s studio (we note in a Daily News headline that after some 20 years the Zodiac killer still hasn’t been identified)—it’s also an experiment in fragmentary language, gesture, and life caught unawares. Snippets of dialogue captured in passing at phone booths and crosswalks, in alleyways, subways, and diners—chance encounters, only presumably, with people going about their day—have something of the aleatory cut-up technique of the Dadaists in the 1920s and William Burroughs and Byron Gysin in the 1950s, an effort to divine new and deeper meanings in ordinary life. — Museum of Modern Art

  1. Robert Frank

    Director

  2. Story

  3. Editor

  4. Producer



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Casts

Full Cast & Crew

Casts : 6 , Crews : 5

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It’s Real (1990) 60 Min

ALL 01/01/1990 (en)
Documentary
  • Release 01/01/1990
  • Production
  • Original title C'est vrai
  • en
  • Revenue0.00

Manhattan. July 26, 1990. 15:45 ~ 16:45.

Overview

One of the longest handheld tracking shots in film history, It’s Real documents an hour in the street life of downtown Manhattan. Not only is it a unique record of a particular time and place—July 26, 1990, from 3:45 to 4:45 p.m. in the Lower East Side near Robert Frank’s studio (we note in a Daily News headline that after some 20 years the Zodiac killer still hasn’t been identified)—it’s also an experiment in fragmentary language, gesture, and life caught unawares. Snippets of dialogue captured in passing at phone booths and crosswalks, in alleyways, subways, and diners—chance encounters, only presumably, with people going about their day—have something of the aleatory cut-up technique of the Dadaists in the 1920s and William Burroughs and Byron Gysin in the 1950s, an effort to divine new and deeper meanings in ordinary life. — Museum of Modern Art

  1. Robert Frank

    Director

  2. Story

  3. Editor

  4. Producer



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