Creatively, if Karl L. is a 10, the director of this movie is a minus 0.
First, the hand-held camera work is the worst in the history of cinema (it makes your head spin and your stomach turn); the use of Baroque background music is in the style of the most banal French television documentary; 25% of the film is wasted on ocean views, sky views, city views, views through a car windshield, and there is even a long long take of an open window with no-one there (the top of KL's head bobs up once or twice; the narrator's questions to KL are usually so superficial and idiotic that even KL criticizes them on film; the narrator is clearly embarrassed by homosexuality and KL is clearly irritated by the generally bourgeois frame of mind of the interviewer (AND it is distinctly the bourgeois that KL hates above all, as witnessed during the few insightful moments of this film). KL comes off as a determined, confident, gifted guy, and with a disarming sense of humor and humanity. Ultimately, one feels, there is something in ordinary human life, and in people, that fills him with absolute dread and revulsion. This is interesting and doesn't get enough treatment, though KL is very happy to talk about it at length. One strength of the film, and probably unconscious on the part of the director, is that the world KL moves through has a great ordinariness and deadness about it: essentially unappealing decors of his homes; settings for his fashion shows that feel like a hip nightclub around closing time, when everything is dirty, tired, spent, and smelling of stale liquor. Essentially, KL's world is not glamorous, and he is honest enough to admit to it. It's an existence that has most appeal in the photograph of it, edited and digitally corrected to the max. In short, it's a tough, creative, determined existence, resulting in an extreme accomplishment, but dead somewhere at an essential core. Another plus of the film is, that KL comes across as honest, smart, with a clear personal philosophy, a wonderful sense of humor, and a ready laugh. He'd be a fascinating guy to know, warm, fun, completely unconventional, and brutally honest. Finally, this film is a huge failure: the director just cannot even approach the fascinating reality of KL. A great opportunity missed, because KL is honest and isn't afraid to talk about himself meaningfully. But, in the last analysis, he lacks something. Something that, for instance, St. Laurent had -- as an artist and as a person -- that is of a greatly superior dimension, one that is fundamentally estranged from the person KL is.