Theo Anthony’s All Light, Everywhere is an exquisite documentary exploring the nature of modern surveillance, consistently raising questions about the ethics of its own creation. Throughout the film, as we examine the history of cameras and the recorded image, as well as the ways in which this is inextricably bound up in the history of warfare and policing and weaponry, Anthony reveals the many fraught decisions a documentary filmmaker faces in crafting a film of this nature. He constantly interrogates the notion of objectivity and shows just how difficult it can be to completely remove bias from our policing and surveillance systems, especially when we put all our faith in cameras, in recording devices, in tools designed to give us a dispassionate and unbiased record of “the truth.” But the film constantly shows us the gaps in a recording device’s ability to capture reality – whether due to the technical limitations of aerial surveillance or the designed limitations of police body cams. And by continually stepping back to show us how the documentary crew sets up a shot, edits a sequence, or removes the breath from a voiceover recording, we’re continually reminded that the images we’re left with in any frame can only tell one part of a larger story. This is a fantastic work of expressionistic non-fiction filmmaking – an exhilarating viewing experience.