Look Into My Eyes (2024)

Look-Into-My-Eyes
Look Into My Eyes

Look Into My Eyes is a documentary film that showcases the life of both the mediums and their clients, however, the emotions of the people and the narration is able to overshadow the events deeply engrossing the viewer.

The film does not follow the conventional approach where people’s names and titles are plastered on screens during the footage but rather lets the viewer guess the title through interactions with other clips. The controversial nature of this subject allows Wilson to break the barriers of traditional cinema where there had been no format or principles for over half a century. The people who enjoy conventional filming may think of this as being “overly designed”, but it is an experience alongside an essence of deep authenticity. It truly is an emotional documentary that portrays the story in a more thorough yet unconventional manner which many are not accustomed to watching.

The film begins with a focus on a woman seeking the assistance of a medium. This medium was once a resident doctor who tended to a 10-year-old girl, shot in her mother’s arms after coming from the church. She inquires whether the girl is free on the other side. The screen turns dark as the woman’s mingled feelings of sorrow and excitement lie between the frames. As we start to know the other different components of the mediums, some structures begin to form. A number of them were adopted and this colonial or racial divide enables them to empathize with the clients but also almost out of touch with the mainstream culture. Many of them are actresses. There is a lady who does the painting and a few of them are actresses, scriptwriters, or some other variations of the sort.

Sometimes it’s impossible to get rid of the notion that the mediums are doing some sort of ‘fishing’ or at least trying to put an act that is close to being fraudulent. One also wonders how it is possible for those mediums to connect with their clients at first sight as if by magic together with no apparent ways that could allow them to be deceitful. Are the mediums some sort of people on some other side? Or are they merely alchemists of their fantasies and emotions, sorts of actors that are able to participate in a client and a wish to be taken up?

There is a session in which one of the participants is a rather bewildered young psychic who, for unknown reasons, decides that he is instead looking at a young man with a skateboard. Asks the client whether he can see that image, and when the client’s answer is negative, he tries to coax the crew whether any of them knows a young man with a skateboard and naturally, all of them do not. Next, he sincerely apologises for being out of his head which he explains was because of tiredness, and attempts to continue with the meeting.

These interviews suggest that he is rather worried about how they would depict him through the course of the movie production since, as he said in another interview, he would rather not be a “fake” kind of person who is assumed to be talented but is not.

He then asks one of the psychics if the man who died the client wanted to speak to “had a hard time breathing” which is quite embarrassing Michael self-describes himself in the movie as being an ‘almost anyone’ who dies, might have a hard time breathing yes only to be later informed that yes, the man hanged himself, ‘that would have been a breathing problem for sure’ the medium retorted, ‘ oh yeah, so sad’ Making it more awkward is the fact that he went to school with the client and did not recognize her at first, But then he adds that however, she had blonde hair then and she mentions as an afterthought that the boy she has come to see, a former classmate Brian.

The film chooses not to touch on whether there are otherworldly spirits or ghosts as well as the existence of paranormal activities and mediums. Additionally, the film questions the need for measuring the interactions between the mediums and the clients due to the emotional connection established between them. The film is not based on proving or disapproving of certain aspects. However, it focuses on the desire of people who come wanting to be a medium and the activities that occur inside the rooms in the sessions.

In this case, Wilson and editor Hannah Buck cut quite a lot of the text in places changing the lines ‘there are times when’ with ‘there are’. But this stands out in modern times for a client more so: he comes, says for what purpose he is there, and the medium puts his head down, goes aside, and lets it all register, a little break, then more bowls as the mediums try to get the message and the spirit the client wants to get.

Just like any other piece of work, the faces of the clientele and the mediums in mediatization and session arrangement are a show. Most of the time these days a film does not have the duration and the stillness that the spectators and the audience set aside to just look at the face of the person, or else the scene is merged with the whispered tension and the star’s emotional you during severe close-up. As for this particular flick, some of the scenes in it seem to provide a close-up of what for.

The medium who during the session experiences that sort of shame claims to wish to participate in something larger than himself. And so does almost everyone. Another amusing Statement made is that each medium to a greater or lesser degree is a dipsomaniac and at the same time has an unusual amount of love and sympathy for human beings. Each one of them does seem to be rather interested in those who seek their assistance and the stories those people have. Obviously, though, it’s inevitable that the motivation should arise from somewhere.

One profound thread that runs throughout Kira’s work, is a series of sessions with a medium who is also a writer, and an actor and generally enjoys the presence of the camera, alluding to it as a photographer’s paradigm. Allow me to put it politely: he lives in what can rightfully be described as a hoarder’s dream. Disorganized. To his credit, he appreciates this and feels so uncomfortable that he requests the team not to aim the camera at his bedroom because it is a catastrophe when compared to the areas of the house that the viewers have already seen. He was apparently fond of “Central Station” by Walter Salles where a woman helps a boy who had been abandoned as well as “Ordinary People”. Whenever he begins to narrate the elaborate reasons for his liking towards these two movies, he has to begin wiping his tears with a handkerchief. This is simply because he is in pain, just as his clients are.

As a result, people are left with this sense that everyone is struggling. People are experiencing indescribable pain, and all that keeps them from displaying it is a bit of self-control. This concept is even more dramatized in the last chapter of the book in which the first part of the group therapy is explained by means of the film where the participants and their professional contacts are introduced.

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