Full Frontal's most effective accomplishment is establishing the camera's voyeuristic nature. The camera portrays some imagery abstractly, mainly by shooting some scenes out of focus and/or on grainy film, bringing itself to the attention of the viewer. Often, the camera also tracks back to reveal a "bigger picture", reestablishing its actors as the same subjects of a film within the film. Acting in this manner in several scenes (yet inconsistently throughout the film), the camera reveals several films within the film and aims at tricking viewers and, ultimately, at showing its ability to force viewers to shift their perspective between fictional representations of truths (the initially perceived film) and the staging of fictional representations of truths (the film within the film). What ultimately results from the camera's overall split and unreliable "recording and reporting patterns" is an uncertainty over the narrative validity of a film whose narrator (the camera) hides the true identity of its players and exploits the irresoluteness of their games. In this sense, the viewer may argue that the camera itself seems to suffer from the same identity crisis as its subjects: a crisis that fails to transmit a clear picture of its narrative and visual identity.
- Chris