Zachary Heinzerling (shown at right), whose first directorial effort this is, brings us as close to these people as he evidently saw fit or could do within the confines of his chosen style -- which is to keep himself as far out of the picture as possible so that we get just these two artists, occasionally their grown son (who appears to be an alcoholic, just like his dad), a few friends in archival footage, and once in awhile an art dealer, gallery owner or museum VIP. Mostly though, it's the twosome: Ushio (below, left), who, during the course of the filming, celebrates his 80th birthday, and Noriko (below, right), who met her husband when she was only 19 (he was then 41) and has stuck with him, through thin and then thinner, ever since.
I have to say that Bullie's punched painting looks about as good as at least half of the rest of the "Modern Art" that I've encountered in my lifetime. You might wonder about how much time has gone into planning things such as composition and overall design, yet the end result's not half bad. Still, during some of the newsreel/news-show footage we see (from the 1960s, I believe), the narrator tells us that in the U.S., at least, "Most of his pieces have never sold." Seems like things haven't changed that much these days.