Synopsis
The onset of the film Actually, Everything Is Completely Different must have begun with questions such as these: How do you portray someone who has put his artistic energy into making portraits of artists for more than 40 years? How do you portray someone who has persistently aimed at getting closer to those portrayed rather than their art? And, finally: how do you make a portrait of someone who has, for decades, not only hided these potraits from public, but also made himself vanish as much as possible in his films as well as in public discussions of them?