A Cop Movie (2021) | Directed by Alonso Ruizpalacios

5/5
Alonso Ruizpalacios’s A Cop Movie is an outstanding documentary utilizing multiple layers of artifice in order to uncover truths about the nature of policing in Mexico. As the film progresses, it keeps revealing itself to us, keeps complicating its initial setup, turning in on itself to become something altogether more nuanced and enthralling than you might expect. Taking the audio from two very strong interviews with police officers in Mexico City, actors recreate the sequences, lip-syncing over the audio until the scene is interrupted and we begin to follow the actors and observe their process preparing for these roles. Another shift occurs when we meet the interview subjects on camera for the first time and see them tell their story for themselves. Ruizpalacios constantly interrogates his own creative process, the ethics of making a film about the police in a country where corruption runs rampant. And yet he also explores how complicated this system is – the chain of corruption that extends all the way to the officers’ superiors and their equipment supervisors, as well as the poverty that drives individuals to join the police force in the first place. This is an exceptional work of non-fiction filmmaking, bending the form to craft a stunning masterpiece.

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All Light, Everywhere (2021) | Directed by Theo Anthony

5/5
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.

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