As a director, Harris himself is something of a chameleon, joining his incisive vision to disruptive narrative techniques borrowed from Frank Tashlin, the French New Wave, and television comedy. He endows Street with his own vast cultural range, stretching from Orson Welles and Jean Cocteau to pop music and TV. The result is a disarming, disturbing, elusive, and profound meditation on personal identity. Shockingly, Harris hasn’t yet made another film.
April 01, 2016