This “diary film,” as director Wim Wenders calls it, investigates the similarities of filmmaking craft to that of the Tokyo-based fashion designer Yohji Yamamoto, who, in the early 1980s, shocked and revolutionized the fashion world. Wenders shot the film mainly on his own, as a one-man crew. During the production, which stretched over a year, Yamamoto and Wenders became friends.
Seattle, 1984. Taking their camera to the streets of what was supposedly America’s most livable city, filmmaker Martin Bell, photographer Mary Ellen Mark, and journalist Cheryl McCall set out to tell the stories of those society had left behind: homeless and runaway teenagers living on the city’s margins
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