E Y E W E A R, THE BLOG - FREEDOM MEANS BEING UNAFRAID TO WRITE WHAT YOU THINK

Anyone who sees Derrida , the fairly recent documentary "biography" of Jacques Derrida , is in for an essay on the difference (with or without an a) between voyeurism and homage, the clear and the opaque, and the pretentious and the sublime. Layered and edited to take full advantage of how film can mirror, copy, track, trace and inscribe, the image, the voice, the eyes, the gaze, this particular film shows the nearly-impossible: a person thinking. Or appearing to think. Derrida, as the self who is playing his Other, his image onscreen, is strikingly photogenic - a handsome, tanned, white-haired older man who is like a combination of Einstein and Sartre - sartorial yet slightly eccentric. This is a coincidence the film enjoys - he could have been ugly, and his thought might be the same - but the fact the camera "loves" him allows him to question what love, and cameras, are for. The film constantly implies division, and doubling - sometimes "Jacqui" is a d...