featuring Warhol's super stars, Mario Montez, and underground comic star of the Kuchar brothers', Donna Kerness, in their sexual process on faces in acting mixed with the ”real”one in close-ups questions the difference between what is "real" and what is "fake" in film. Continuous laughing voice over the images makes one wonder as an absurd play. Probably the most visually intriguing of the series, Iimura's Face also might be the most difficult to embrace. It gyrates and gravitates around "at least" two feminine facial structures, navigating close-ups onto their eyes, lips, and porous skin. One displays a heavy cabaret style of make-up, expressed by Mario Montez of Andy Warhol recognition, while the other harnesses less make-up and more natural beauty, played by Donna Kerness. It creates a questionable dynamic between false, consumer-created beauty and natural, lightly untouched attractiveness, while also addressing the fallacies of what can appear on-screen. It edits between shots of the two talents, showing how seamless edits can interlock two very different entities. What makes it difficult is the runtime, nearly twenty-minutes, and the repetition of cackling laugher that seems to almost mock the audience's perception of the photography.
