ABSTRACT
M el Gibson’s output as a filmmaker is notimpressively large but, for better or worse, it has never left moviegoers and critics
indifferent. Apart from his directorial deb́ut
with The Man without a Face (1993), the
fairly conventional, mildly sentimental tale of
a disfigured man who befriends a boy and
helps him with school, the three feature films
he has directed so far have been greeted with
outrage by some and with enthusiasm by others.
