“Flipside” is stuffed with footage from Wilcha’s voluminous video archives, a trove that he explores to reveal its deeply personal implications. The work is built of fragments, and Wilcha introduces them in a wryly deceptive way. At the start, the movie seems to be a documentary about Herman Leonard, a photographer best known for his images of jazz musicians.
As he unpacks the closet and displays his throwaway treasures, he explains, in a line of arrogant sublimity, why he has accumulated so much: “As far back as I can remember, I always had this feeling that the world was going to forget—and that I was somehow in charge of remembering. And that meant saving everything.” With this stuff occupying space in the house where his parents live, “Flipside” morphs into a hilarious yet resonant family story.
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