As a visibly disabled person, filmmaker Reid Davenport is often either the subject of an unwanted gaze — gawked at by strangers — or paradoxically rendered invisible, ignored or dismissed by society. The arrival of a circus tent just outside his apartment prompts him to consider the history and legacy of the freak show, inhich individualshoere deemed atypicalere put on display for the amusement and shock of a paying public. Contemplating how this relates to his own filmmaking practice.
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