“Capturing Bigfoot” doesn’t waste time getting to the hairy meat of the matter. It opens with the shaky, grainy 16mm footage that’s the most widely viewed piece of cinéma vérité in history apart from the Zapruder film. It even looks like the Zapruder film — though the setting, in this case, is a woods, full of birch trees and sunlight and vivid autumn color. For a few moments, the image jerks around in a raw amateur way. Then it grows steadier, and there, about 100 feet away from the camera, an ape-like figure walks along in front of the forest foliage, turning its head for an instant to look at the cameraman, then continuing on its way.
Variety magazine. Things are changing. About frikking time.
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