PROOF is a film so personal that it approaches therapy, but there are certain Devensky preoccupations which become readily apparent to everyone familiar with his work. Perhaps the finest sequence is the investigation of fifty-year-old tombstones in a Jewish cemetary - a scene which bears close resemblance to Devensky's scrutinizing of photographs in other films. Indeed, many of the graves bear photographs of their inhibitants and Devesky imbues the scene with that same romantic nostalgia... PROOF closes with a 2001-style light show and a direct statement of Devensky's evolutionary theory"

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