Proof is a complex, intelligently-written film which tackles several issues, including that of an obsession which inevitably provokes fierce emotions within a three-cornered relationship. Someone told Jocelyn Moorhouse a few years ago that he had met a blind photographer. That was the inspiration for the film-maker’s first full-length feature film. At the time, it did not get through to her completely, but later she became increasingly fascinated by what makes a blind person take photographs. Moorhouse: ‘Blind people have to place their faith in others. I wanted to tell the story of a man who couldn’t.’That man is Martin and he’s been blind since birth. As a child he had the feeling that his mother consciously did not tell him the truth about the surroundings he couldn’t see, in order to punish him for his handicap. When he grew up he trusted no one and became increasingly isolated. He takes photos of his surroundings as ‘proof’, but he remains dependent on others to describe the photos. When he meets Andy this problem seems to be solved. They develop a close friendship and Andy swears that he will always tell Martin the truth. But Martin’s housekeeper Celia disrupts the harmony. She is in love with Martin, who does not however return her feelings. Then Celia takes her revenge.Moorhouse evokes a great sexual tension in her film between the three protagonists. Dimitri Eipides (director of thefestival for new cinema in Montreal): ‘Proof is a striking debut that will be talked about for years to come’.
