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Though we know very little about some of the great artists of the past, many say that it is not important because we have the works. Yet the world still longs for knowledge about the living, breathing human being, the man or woman behind the name on the painting or the title page. This element of mystery is what makes John Maloof and Charlie Siskel's documentary Finding Vivian Maier so intriguing, yet also leaves us wanting to know more. The subject of the film is an unknown photographer whose art has been compared to the masters, though she never exhibited her work and little is known about her life.

The photos, discovered by Maloof, display a segment of society invisible to many in the 1950s - the old, the poor, the black, the young, and the disenfranchised, a kaleidoscope of stunning images that poignantly capture the faces of humanity with humor and rare sensitivity. The story begins with John Maloof reporting how he purchased a box of negatives at an auction in Chicago in 2007 for a book he was working on. Told that the photographs were by Vivian Maier, he did not recognize the name and could find nothing about her on Google. After stashing the box away for two years, Maloof decided to scan some images and post them on Flickr.

Writing on the website that he had about 30,000 negatives of Maier's work that cover a period ranging from the 1950s to the 1970s, he requested direction, asking whether the photos are worthy of an exhibition or a book. Shortly after that, an article appeared in a British newspaper and the Chicago Cultural Center presented an exhibition of her work in 2011. Kickstarter provided the funding and this documentary began to take shape. Still digging for more information, the second half of the film is devoted to discoveries the director made about Maier and they are not all pretty.

What we do know is that Maier was born in 1926 and spent some time in France before working as a nanny for upper middle class families in the Chicago suburbs (including a brief time with Phil Donahue). Always dressed in an old-fashioned suit, Maier would walk through streets and alleys with the children she cared for, snapping black and white photographs with her Rolleiflex camera that she held down by her waist. Interviews with past employers and grown children, though often contradictory, reveal a private but very complex individual with strong opinions that she did not hesitate to share. They also indicate that she had a dark side and her reported bizarre behavior may have indicated serious emotional problems.

There are also stories about her room being filled with newspaper as high as the ceiling, that she used a fake French accent (though some do not recall any accent at all), and changed her name with each family she worked for, often giving phony names. One woman remembered that Maier told her that she was "sort of a spy." Some of those interviewed have more upsetting memories about coercion and bullying, but the film does not dwell on them, nor provide anyone to either counter or corroborate them. We do learn, however, that when Vivian was much older, two of the children she cared moved her into an apartment and finally into a nursing home where she died in 2009.

Unfortunately, neither of these loving children was interviewed, leaving a tantalizingly vague idea of who she really was. Though admittedly he has a commercial interest in its promotion, Maloof has done a public service by making the world aware of the work of this great artist and has been willing to spend an enormous amount of time and money in the process. Though this has resulted in her work now being displayed in galleries all over the world, the question of why her photographs have not been accepted by the Museum of Modern Art is left unexplored.

The bigger mystery - why she chose to withhold the photos from the world, of course, is still unknown and the film sheds very little light on this puzzle. Like last year's Searching for Sugar Man, a documentary about Sixto Rodriguez, another unknown but very talented artist, Finding Vivian Maier is a fascinating ride. Unlike Rodriguez, however, Vivian Maier will never hear the applause.

The documentary "Finding Vivian Maier," written and directed by John Maloof and Charlie Siskel, tells the fascinating tale of a woman who lived and died in obscurity - then, through a serendipitous fluke of fate and an undiscovered talent for photography, became well known and celebrated long after her death. So much so that they even went and made a movie about her.

The saga began when Maloof, a young historian/filmmaker, bought a box of negatives at an auction in 2007. The negatives, it turned out, belonged to a woman named Vivian Maier, born in 1926, who had spent most of her adult life taking pictures of the world around her - more than 150,000 of them to be exact. Vivian never shared her work with the people in her life, even though the images were of a quality to rival some of the world's greatest and most famous photographers. Intrigued by what he had unearthed - the treasure trove included many 8 MM films as well - Maloof decided to re-create the life of this talented woman by seeking out those who knew her and using their knowledge of her to help piece it all together. It seems that Vivian spent her life as a nanny to the well-off families of Chicago; in fact, she was hired by no less a figure than Phil Donahue to look after his four children for a short time.

Through the movie, there emerges a portrait of an eccentric, intensely private woman, who never married and was seemingly devoid of family, who kept her personal background a secret, frequently used pseudonyms, affected a phony French accent (despite the fact that she was a native New Yorker), voiced strong opinions on politics and society, and traveled the world with only a camera for a companion, continually documenting, through both stills and film, the world as she and few others saw it.

One of the interviewees describes Vivian's work as reflecting "the bizarreness of life, the incongruencies of life, and the unappealing- ness of human beings." Yet, what comes through most vividly in her work is its humanity, her ability to capture the essence of people from all ages and walks of life in a single moment in time.

However, if you thought "Finding Vivian Maier" would turn out to be one of those unalloyed "feel good" movie experiences, you'd be sadly mistaken. For not everything we learn about the woman behind the camera is uplifting, charming and inspiring. In fact, the movie takes a decidedly dark turn in the latter half, as a number of the children she oversaw recount some of the abuse - both physical and emotional - they suffered at her hands.

She is described by some who knew her as "damaged" and "past eccentric,' riddled with mental illness, paranoia, and a compulsion for hoarding.

She became more and more isolated from the world as she entered old age, reduced to dumpster-diving for food. and becoming increasingly reliant on the kindness of strangers before death finally came for her in 2009.

Yet, now her work adorns the walls of many an art gallery the world over, as ever-increasing legions of admirers come to appreciate her talent.

For all its speculation, the movie demonstrates at least a certain amount of self-awareness by admitting that it may be a trifle unfair to judge a person and the life she led based entirely on how others saw and felt about her, without the person being given a chance to clarify or defend herself.

In a way, Vivian Maier is a stand-in for all the nameless, faceless people who surround us unnoticed, the vast majority of people who live their lives in relative obscurity and leave little real mark on the world after they're gone. Except, thanks to the fickle finger of fate and her own unique talent, Vivian did leave a mark, one that will be admired and appreciated for generations to come.

I saw Finding Vivian Maier last night and thought that the movie was very interesting and riveting. I've been following the story of Vivian Maier's photography ever since the story first appeared on PBS-WTTW, Chicago. At first pass, the story was lacking in general information about her, but the many 1950s/1960s street photos of Chicago (mostly) and New York City were wonderful. The photos, I think it's fair to say, took the international photo art world by storm.

After she died, the bulk of her photos and negatives were bought by John Maloof, a co-director of the movie. Vivian Maier's personal and photographic story, along with John Maloof's story relative to purchasing the photos and fleshing out information on Ms Maier are the subject of the movie and the two interwoven stories are most interesting.

Interviews of those that knew her or her work are in the movie, many of her photos are shown, as are shows of her photos.

I, like the previous reviewer, would like to see the movie again. If it comes out in CD or similar form, I'd be a buyer.

Stories of posthumous success are always interesting. Rarely have they been on the scale of Vivian Maier, whose body of work proves that her perspective of the streets is not a fluke. The pictures are staggeringly good yet modest. She had a talent, if not one for printing and promotion. Elusive artists, ones who do it for their own satisfaction, are pretty fascinating. You think art should be one of those things that begs as much attention as possible. That was Vivian's enemy. Fortunately, or unfortunately for her, director John Maloof knows how to spread the word. Upon finding her photos and setting up galleries for them, he set out on a journey to find out more about her. He probes into all her facets. Her brilliance, her quirks, and her flaws. Perhaps Maloof shouldn't have had the gall to include himself, but he acts as an antithesis to Vivian. Almost an antagonist to her goal. It's a great dynamic that guides the film in a great way. Thoroughly entertaining, enlightening and engaging documentary with a beautiful score to boot. Finding Vivian Maier is easily of the best documentaries of the year.

8/10

This documentary is one of a kind. The story of an eccentric, possible mentally ill mystery woman and her prolific photographic work. If the move was just about her art, it would be extraordinary, as her work was. The story of her bizarre and secret life just enhance the film. For a first time effort from John Maloof, this one is very well done. The film starts with those who knew her, openly expressing their amazement to her unknown and mysterious life as a street photographer, filled with the images she kept a secret from everyone. You wonder how someone with her talent could keep it a secret for so long. Maloof plays a significant role in front of the camera as it is necessary for him to tell the story. When it is over, you are still left with a sense of disappointment. You know more about this mystery woman, yet you still crave for more..............And, the images still haunt you. This is one movie I will see numerous times.

The showing I attended had Jeff Garlin participate in a Q & A. It was entertaining as he detailed the process and effort Maloof put in to make this gem of a documentary.

The added bonus was my friends brother was in the film. Very exciting.

Please see this film if you can. Please see the photography of Vivian Maier if you can.

"Finding Vivian Maier" is one of the strangest documentaries I've seen in a very long time. Strange, however, does not mean it's bad--the movie is one that surprised me with how much I was drawn into this highly unique woman's life. And, it's just debuted on Netflix in case you'd like to give it a try, as it's amazingly original and worth your time.

When the documentary begins, a young and rather unusual young man, John Maloof, talks to the camera to explain how he came to know Vivian Maier. One day, a huge box full of photographs was being auctioned off and he bought it on a lark. It turned out that the pictures were amazingly good photographs of various everyday people taken in the 1950s. However, the pictures had a very artistic touch and it was obvious that the photographer was no novice---they had the eye of a wonderful artist. Armed only with a bit of information, John began researching for more on this woman. To his surprise, he learned that this Vivian Maier was a governess and maid--not a professional photographer. However, the story soon gets MUCH stranger. It turns out that there is a storage unit filled with her belongings and Miss Maier has recently died. And, with no apparently last of kin, Maloof buys the contents of the unit. Inside are boxes and boxes and suitcase after suitcase filled with approximately 100,000 photos taken from 1951 up towards the present. And, in addition, are many, many roles of undeveloped film-- and who knows what wonderful treasures are on these films?

The film, however, does not just talk about her photos or qualities as an artist. Instead, John goes on a journey to try to find people who knew Vivian in order to help him assemble her life story. What he finds is often contradictory, quite confusing and, above all, very strange. It seems that Vivian really had difficulty connecting with people and didn't remain on her jobs very long. She also created a persona of a French woman--though it turns out she was born in New York! Additionally, aside from one family with which she worked for about six years, most of her jobs seem to have lasted only a few months or perhaps a year (this was the case with Phil Donohue's family back about 1970--yes THAT Phil Donahue)! The reasons are not simple to explain without seeing the film, but could be boiled down to the fact that she was, as one person put it, a 'damaged person'--with so much emotional baggage and weird behaviors that she was unable to really connect with others. She could not allow herself to be physically or emotionally touched by others and her photos are a possible unusual way of connecting with the world. What else do you learn? Well, see the film--as the story takes many unusual twists and turns. Overall, it's less like a biography and more like a forensic case where some people are trying to re- create a dead person by interviewing all those who knew her during her odd life as well as using Maier's own photographs, film footage and audio tapes. And, what's really unusual is that most of the people she knew seemed to have no idea that she was a great artist...as she took this secret to her grave.

Fascinating....this is probably the word that best describes this film. You just have to see it to believe it and although many might think twice about seeing a documentary or a film about a strange eccentric, I heartily recommend you give this movie a chance. You won't regret it.

"Finding Vivian Maier" is actually quite a remarkable documentary about a completely unknown photographer who was, sadly enough, overlooked in her lifetime.

It was only by a stroke of sheer luck that John Maloof (this documentary's co-writer/co-producer) came across this surprise discovery of negatives amongst Vivian's possessions, which he had purchased at an auction (of her abandoned personal property) in 2007.

Vivian (who worked as a nanny for various families for nearly 40 years) apparently never showed her photographic work to anybody. But thanks to Maloof's uncovering of Vivian's personal possessions, it is now realized that her photographic-eye was truly exceptional.

This is definitely one documentary that is really worth seeing.

A box is bought at auction and explored, turns out the last owner collected a large hoard, of film and negatives, you start to build a narrative, for your curiosity, you receive a great reward. The picture that develops is profound, the images you've captured just astound, the story that it tells, puts you right under its spell, as more canisters (amongst other things) appear, it's quite profound.

A brilliant piece of factual storytelling that reveals the story of a tough and eccentric spinster who spent her life taking some of the greatest pictures the world nearly never saw. I've lost track of how many times I've revisited this over the years and it remains a gem to be perpetually revisited.

None of her pictures were ever published during her lifetime, but after death, street photographer Vivian Maier attained fame when undeveloped negatives from her deceased estate were published online. This documentary from first-time directors John Maloof and Charlie Siskel follows their attempts to probe into Maier's background and discover why she took so many photographs, yet never shared them with anyone. The film is very deliberately structured. The first half basks in Maier's magnificent work, focusing on her innovative camera angles and ability to candidly capture pure human emotion. The second half is dedicated to the investigation of who Maier was and what made her tick, and as the film progresses, we gradually learn (through thoughtfully spliced interviews) that she may have not just been an eccentric recluse, but in fact someone very paranoid with severe emotional problems. Some have commented that the documentary spends far too much time towards the end on the question of just how unbalanced Maier is (especially considering that nobody still knows for sure); then again, it is always understandable why Maloof and Siskel are so set on pursuing her past. She was, after all, a great artist and it is often fascinating to learn what makes such people tick. Especially interesting are the conflicting testimonies of what Maier was like. Maloof and Siskel may be unable to offer any definite answers or deeper insight into Maier's psyche, but this film is just as much about their attempt to understand an unknown artist as it is about the artist herself.

John Maloof buys one lot of photo negatives at a local auction house for $380 in 2007. He's looking for old pictures of Chicago to put in a picture book. He purchases the rest of the negatives from the other buyers and finds out after goggling that she was actually just a nanny. Her works find recognition as Maloof starts displaying them. She was also a pack rat and he pieces together her life from all of material she saved up. She seems like an eccentric private person who took pictures all the time. She would even bring her young charges to the slums to take interesting photographs. He continues to dig into her life and finds some fascinating mysteries.

First off, the pictures look beautiful. I really like the photos of people especially. Shooting from below gives a majesty to the subjects. That's the hook. Then there is the mystery of the nanny. It's a fascinating reveal as Maloof interview some of Vivian's charges. The fact that she seems to be alone raises the mystery factor. The only drawback is Maloof himself. There is probably some self serving purpose going on here and he's not the best narrator for the purpose. However I'm just drawn in by this private woman. I find her fascinating.

And, who, exactly, was Vivian Maier?... Well - That, my friends, is probably something which we'll never, ever know for sure.

But, with that said - I certainly must give John Maloof (this documentary's co-writer/co-director) a helluva lot of credit for his thoughtful and extensive investigation into the identity of this very private, yet incredibly prolific, street-photographer who, in her lifetime, took an estimated 150,000 photos (most of which were never developed).

It was only by a stroke of sheer luck that Maloof came across this surprise discovery of negatives amongst Vivian's possessions, which he had purchased at an auction (of her abandoned personal property) in 2007.

Vivian (who worked as a nanny for various families for nearly 40 years) apparently never showed her photographic work to anybody. But thanks to Maloof's uncovering of Vivian's personal possessions, it is now realized that her photographic-eye was truly exceptional.

For the most part, this documentary was quite an extraordinary experience for this viewer. But, alas, it lost itself some significant points due to there being just a little too much emphasis placed on determining whether Vivian was a kook, or not.

In conclusion - Without ever achieving the recognition that she so rightly deserved in her lifetime, Vivian Maier died in 2009 (at the age of 83) in the state of complete poverty.

First, I would suggest everyone of you to go online and watch "Vivian Maier: Who Took Nanny's Pictures?" produced by the BBC, and please come back to read the rest of this review.

The BBC documentary being released a few months before John Maloof's film, I was interested to learn what Maloof had more to show or tell about Vivian Maier, and risk a unflattering comparison with professional journalists.

Technically, I have to say that "Finding Vivian Maier" is not impressive.

A documentary about a photographer would be asking for voice-over narration, to give full screen-time to the photos, videos and belongings of Vivian Maier. Contrarily, John Maloof (or his hands, or his reflection in a mirror) is in front of the camera for a long part of his video. Especially disappointing for a theatre release.

The content of the film is also disappointing, and a bit sad.

Most of the information are already known from news articles, or from "Who took Nanny's pictures?". Moreover, despite owning 100000 negatives of Maier, Maloof is not showing a single piece of exclusive material in his documentary. Not once did the documentary attempt to define her art, or try to identify the artistic influences of Vivian Maier. Maloof depicts her like a kind of "idiot savant", an autistic genius totally disconnected from the arts of her time (BBC's documentary shows that Maier was influenced by Henri-Cartier Bresson and the surrealists - she even crossed Salvador Dali's path).

More worrying to me were 2 ideas conveyed by John Maloof in his video : - Maloof does not need journalists, he can write himself documentary about Vivian Maier himself. I think it is quite troubling that Maloof (the documentary maker) does not even try being unbiased and factual about Maloof (the businessman). For example, I would love to hear Maloof about his past real-estate activities in Chicago, why he bought so many belongings of Vivan Maier, and how he is earning his life today.

• Maloof does need museum curators. Showing his MoMA letter, Maloof seems to state "museums refused Vivian's art initially, so I am (at least) as competent to manage the artistic heritage of Vivian Maier".

It is frightening that most photographs of Maier are under the control of a single person, who do not have much of an art diploma, but acts as a "chief curator" ("curator", noun 1. the person in charge of a museum 2. A MANAGER, superintendent ... what an irony).

So dear John (if I may), what about transferring every ownership and reproduction rights to a non-profit "Vivian Maier" foundation ?

I don't know what it is about documentary makers these days, but almost without fail they seem to want to drown every single moment of what could otherwise be a fascinating story with annoying music. There's almost never a quiet moment. This fascinating film about an eccentric character who took what turned out to be incredible photos is no exception. Every single minute is filled with twee plinky-plonk. It's beyond irritating. Why do they do it? Are the words and pictures not enough? Do they think we're too brain-dead to focus for an hour without a constant background of muzak? Anyway, despite this absolutely unnecessary and superfluous ear-torture this was a beautifully shot story about a very intriguing woman, and her work is in my opinion second to none. 7/10. It would have scored higher if it weren't for the dirge.

This film is recommended.

Filmmaker John Maloof stumbles upon a trove of unwanted photos at an auction by a relatively unknown artist named Vivian Maier and this documentary, co-directed with Charlie Siskel, wants to make her well known and just may do so. His Antique Roadshow story becomes the basis for his documentary, Finding Vivian Maier, and it's almost too obvious that this filmmaker wants to create a legend and myth in this well done infomercial for this talented woman. Through interviews and archival footage of her photographic work, we learn little about this eccentric artist's life, she remain an enigma. But her photographic more than fulfills her lasting legacy.

To be honest, the film does not present a well balanced view of the late artist, and is purposely biased in its approach to heralding her fame. But Miss Maier's work, part Diane Arbus, Robert Frank, and Walker Evans, is certainly powerful. Her street photography is quite remarkable with a dark and insightful point of view.

Armed with a Rolleiflex camera, Maier shot over 100,000 photos of street life. Her imagery, mostly head shots of people on the streets of Chicago beginning in the 1960's, is varied and quite accomplished. Her photo journalistic style documents those times well into the 90's era. Her use of shadows and light are particularly effective and help to create a chilling mood with its subjects and their environs.

Finding Vivian Maier tries to uncover this artist's personal life, but never achieves that goal, due to conflicting stories by interviewees and the lack of physical evidence left by Maier herself. We take away from the film the fact that she was a private person whose main job was being a full-time nanny, although she may have possibly had severe mentally issues. She was a creative and prolific artist on the side, rarely printing or showing her own work to others. But we also take away from this biography a slightly disturbing feeling that the filmmakers might have an ulterior motive, taking advantage of the artist for purely financial reasons rather than mere admiration of her work. Some details (her early life, her friends and family members, her death) are glossed over instead of examined with any depth or mention.

That said, the filmmakers have assembled a compelling portrait of the photographer and her work is certainly worthy of attention. We may not find the real essence of the artist in the documentary, Finding Vivian Maier, but the journey itself and Vivian Maier's memorable imagery makes for fascinating viewing. GRADE: B

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"Finding Vivian Maier" was certainly one of the more interesting documentaries that I've seen in quite a while.

Eccentric, secretive, enigmatic - Vivian Maier (who, besides being nanny) was also an amateur street-photographer with an exceptionally acute "photographic-eye".

To me, the most surprising thing about Vivian was that throughout her lifetime she never once showed her photographic work to anyone (and yet her output was phenomenal). Yes. Vivian was so private, yet so prolific.

Through interviews with members of the families whom Vivian had worked for from the late-1950s, onwards, the viewer gets a somewhat clearer picture as to who Vivian Maier really was.

But, the truth is, we will never, ever know the real story of the "real" Vivian Maier (who, sadly enough, died in 2009 in a state of poverty).

After all the hype surrounding this film (and the Oscar nomination), I thought there might be a reason for it. But unfortunately, I didn't get it. I didn't see much that impressed me about the subject, the filmmaker (who was way too present) or the so-called "mystery" of why we really need to have a history of every aspect of Vivian's life.

So what if she was a Nanny? Big deal. So what if she never had a showing during her lifetime? So do most artists who die penniless. I think there is so much emphasis on how brilliant she was, that it was difficult to see what the pictures are all about: they are simple depictions of the world as seen through one woman's eyes. So therefore, it didn't matter one bit that she was not a recognized artist during her lifetime.

The constant interruption of the images by the filmmaker emoting in front of the camera is grating, and the repeated shots of him developing and printing, is annoying to say the least. All of it went way too far in making him seem like he was some kind of a savior who gave the world a gift -- and ignores the fact that Vivian was the kind of artist who only wanted to practice her art without all the hoopla and celebrity that follows most of the pretentious egocentric photographers like Annie Leibowitz or Cindy Sherman -- where the personality of the photographer becomes more important than the images themselves. At least Vivian didn't proclaim how brilliant she was, and expect everyone to reward her.

In all honesty, I failed to see any real innovation in terms of photography. Almost every image was almost like a direct analogy to Diane Arbus, who frankly did it better. Vivian was a good photographer, no question. But what bothers me is the ludicrous hype that has now grown up around the images -- and it all seems unwarranted. There is nothing about this documentary that suggests it should be nominated for an Oscar, and was, in my opinion, a waste of time.

I remember watching this on release and being blown away. I'd just watched Searching for Sugar Man too and was captivated by these real life hidden gems. Sugar Man is a story of redemption and long overdue reward. Vivian's story is something else entirely. Both have mystery, but here it's intentional, created by Vivian. So is she? 2007, John Maloof buys a box of old photo negatives in an auction. He's never heard of Vivian Maier who took them. He wouldn't have. Vivian was very private. What she'd make of this film god only knows. John likes the photos, scans some and sticks them on a blog. This is where we first see her work and where my jaw first hit the floor. These photos are fantastic. They capture candid moments right across the spectrum. Vivian is seems had both the eye and the ability to be in the right place at the right time. A street photographer. An amazing street photographer. But the photos are only part of this story. Vivian was a loner, no family, working as a nanny, taking photos in her spare time. John is intrigued, as I am all over again. The negatives really are only the start. Some digging unearths a lock up kept by a family she worked for. Hundreds of thousands of negatives. John bless him gets to work, organising, scanning, cataloging. I'm sure Vivian would've been embarrassed by his efforts, but at the same time we feel that maybe they share something. Dedication. Certainly a love of photography. Make no mistake it's Vivian's story, but credit to John, the spade work he's put in to deciphering her world is remarkable. Private as a person, those who knew her describe her as unusual. Accurate perhaps, but of course they didn't really know her. She always had a camera with her, but it seems no one ever got close enough to think anything of it. Shooting on a Rolleiflex, she was stealthy, secretive. It was important to her that she remained out of the limelight and several of the interviews here give a clear sense that they question the reasoning behind the film. The ethicacy of digging into her life. I feel for John in this respect, believing that his goal is simply sharing the art. There's a sense that it's a shame she didn't show her photos. A missed opportunity. I think she loved being a nanny though, loved children, but we learn there was a dark side to Vivian's nature. Maybe afraid, maybe wary. There's a lot of speculation here. One things for sure, she loved taking photos more than anything. There's movie footage and audio recordings too. Together with the photos, the interviews with people who met her, knew her and John's pieces that give it structure. It paints a rich picture. One person says "I find the mystery more interesting than her work". I disagree. The mystery is fun, engaging, but it's just a vehicle for me. It's the work that makes this so special. As a documentary it's complete gold, the source material is that good. But the way it's told too is wonderful, the pacing and arc of the story reveals some real magic. She didn't fit in. Saw herself slightly removed from society, but through her lens knitted herself into its fabric. It's a satisfying journey, respectful, a bit sad, but I don't think Vivian was sad. Her story is interesting. A life on her terms. I hope she's enjoying her post life success.

Great story discovered and told by a curious young man who's short life experience had prepared him well to recognize a fantastic find and research it and film it. Well done!