Model

In Model, Wiseman has chosen the Zoli Modelling Agency, in New York City, as the focus of his camera's gaze.

We start by watching the vetting process that young, prospective, models must go through in order to be represented by the agency.

This is followed up by those prospective models- who only got constructive criticism out of the ordeal- going back to get photos done, to build up their portfolios.

After that, we skip forward to the point where signed models start to get gigs.

Starting with print photography; before moving into the realm of more videographic based commercial work.

As opposed to most of his work, this film has a more Depardon feel to it.

Perhaps, for obvious reasons (as Depardon makes films that are similar in nature to Wiseman, but started his career as a still photographer).

On top of watching the models model, we also observe the photographers shoot, and the assistants assist (with lighting and shadows, etc.).

Not to mention, the directors directing...and all of the stuff that goes on behind the scenes in the production of commercial advertisement.

The most interesting parts, for me, were watching the process of the pantyhose commercial being made.

How the different models were employed during each section of the shoot, and how all of the footage was combined to create the final product, in the form of a television commercial.

As well as how Wiseman uses all the normal folk, who have stopped on the street, or hang out of their windows, to watch these shoots in progress.

Unwittingly becoming models themselves, in a sense, for the production of this documentary.

However, certain scenes make you wonder if what Wiseman says is really true.

That he never "directs" people to "act" scenes out; rather only captures them in the moment.

Because some of the scenes seem a little suspect in this regards.

Particularly the one where three boys are filmed crossing a crosswalk, as they joke around with one another...with one boy eating an apple as he passes by the camera.

It seems kind of hard to believe that they would be so non-chalant, in going about their daily routine, with no recognition of Wiseman, and his camera, being set up on the corner of the street, whatsoever...when his gaze clearly set on them.

Their failure to give any sort of recognition to this is what leads me to suspect Wiseman may have had to intervene with a little direction here.

Especially considering the scenes included directly prior to this.

I also found the inclusion of the interview with the owner of Zoli, about the public's perception of models, to be, not only, interesting...but a clever way to incoporate that sort of perspective into the film, without being so intrusive.

Having some of exposure into this world, myself, in my personal life...I can say that the only downside to this film is that it's scope is limited.

Pertaining only to the highest end of the industry.

What Wiseman hasn't done here, is scratch the surface into the seedy underbelly of the fashion model industry.

A realm that fuels grooming; sexual trafficking; and the sexual exploitation of women, in general.

Which is a shame, because it renders the whole expose to be rather superficial.

But I guess that is to be expected in a documentary about the quest for fame, from beauty, in the most superficial industry on the face of the planet.

So it is what it is.

6.5 out of 10.