This is a documentary about a movie about a documentary about a film clip filmed by a sociopath & used to destroy someone's life, so, good luck keeping all those layers straight. Trent Harris thought he made a documentary about what stupid fools normal people are. Instead, he actually made a documentary about what a hateful, sociopathic, obsessivesly exploitive, & deeply disturbed monster Trent Harris is; that's meta. The filmmaker unwittingly turned his lens on himself without realizing it, revealing all the inner ugliness of his own dead, empty, putrefying soul. We see you, Trent. We see you very clearly. This is also very sad because The Guy whose life got ruined never seemed to realize that he was owed cash for providing all the material that Trent exploited, repeatedly & voraciously, to build his laughable "Hollywood career". The fact that Trent is still allowed to teach film school in Utah is the most sickening thing of all, considering the hateful & viciously exploitive nature of his own, ahem, "work". I feel such pity for the students who are forced to pay this psychopath just to earn a credit toward a degree. Harris should be in jail, not shaping young minds. RIP, The Guy.

When I first saw the original Beaver Trilogy someone described it to me as being "something like Grey Gardens". I was actually appalled after I watched it. This has nothing to do with carefully rounded portray that Maysels brothers created. The Beaver Triology is just based on some random footage of an awkward, seemingly repressed and maybe disturbed young man, exploiting his obvious naivety to present him as a freakish fool. Trent Harris looks at his subject with a voyeuristic lense, he never tries to get a fuller, more nuanced picture of Groovin' Gary. This new documentary claims to show us the bigger picture by giving us insights into both Harris' and Dick Griffiths' (aka Groovin' Gary) side of the story. And while it does give us some of that it never really asks the right questions. At about 15min into the film, Dianne Orr, a producer for the TV station that Harris worked for, is the one of the few voices of reason here: "When Trent showed me the footage from that talent show, I was really worried. I thought it went too far and exposed too much". Sadly this sentiment is never fully explored in this feature. It does not ask Harris straightforward if he feels reponsible for the suicide attempt of Griffiths. It never asks what it would mean for the subject to be portrayed as a somewhat queer personality in a conservative Utah town. Griffiths, who has passed away since, is represented by his sisters and friends, who can only give us a misty-eyed second hand picture of him, but can't really answer the question how his state of mind was at the time. Harris on the other hand is given plenty of opportunity to glorify himself, promoting his new movie and playing down the moral obligation that a filmmaker has to an unwitting subject.