Jag är nyfiken - en film i gult

Sociology as an alienating effect? A documentary in a drama, or fiction within a documentary? In any case, it is one of the culminations of the 60s as a social and film movement. The initial Brechtian alienation establishing a film within a film quickly changes into a cinema-verité style, bringing the viewer closer to the social atmosphere and especially its traumatic moments, followed by a fictional personal story of two lovers. The brilliance lies in the fact that thanks to the merging of the Brechtian alienated characters with the story they portray, the sociology of that time (the identity of women and men in the Western world during the sexual revolution, post-industrial transformation, questions surrounding the welfare state, the leftist agitation of the young/student movement, etc.) intertwines directly with the story, which is no longer just a sterile documentary demonstration of sociological facts or a fictional metaphor concocted by the director. The actors from the story are themselves part of the society in which they act/live, but at the same time, they investigate it with objectifying methods! Who is the subject and who is the object? Who is the director and the actor, and who is the viewer, the creator of the interview, and the one being interviewed? Everyone is both in any of these pairs. (27.03.2015)