Kirsten Johnson’s new DICK JOHNSON IS DEAD is a rumination on memory, death, and movie illusion, one that brings the veteran “cameraperson” in front of the lens, alongside her titular father. In that, it’s reminiscent of an earlier essay film with a strongly autobiographical bent, and a similar fixation on what remains after we’re gone: Orson Welles’ F FOR FAKE. In this half of our pairing of the two films, we debate how — or whether — Johnson’s film successfully skirts exploitation of its central subject, before diving into how these two films each tackle matters of authenticity, illusion, and making art in the face of death. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your radar

Please share your comments, thoughts, and questions about F FOR FAKE, DICK JOHNSON IS DEAD, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

**Show Notes**

Works Cited:

•”’We Think the Audience is Smarter Than Us’: Kirsten Johnson on Making Another Personal and Original Film With ‘Dick Johnson Is Dead,’ by Matt Prigge (filmmakermagazine.com)

• “Documentarian Kirsten Johnson on Fake-Killing Her Own Dad (Over and Over) in Dick Johnson Is Dead,” by Rachel Handler (vulture.com)

Your Next Picture Show:

• Genevieve: Banksy’s EXIT THROUGH THE GIFT SHOP

• Scott: Jacques Cluzaud, Michel Debats, and Jacques Perrin’s WINGED MIGRATION

• Keith: The Tobolowsky Files podcast

• Tasha: Walt Dohrn’s TROLLS WORLD TOUR

Outro Music: Oingo Boing, “Dead Man’s Party”

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