Theo Anthony’s movies are meticulously researched but, in his opinion, if he’s done his job you won’t know it. His new project All Light, Everywhere is broken into chapters and an epilogue that goes back and forth between the origins of moving image cameras and the use of body cameras on police today. It could be heady, but Anthony places these publicly available facts about both in a reflexive sequence that allows viewers to come to their own conclusion.
In the form-bending documentary Anthony explores Axon, a manufacturer of police body cameras, and for the sake of transparency in a film about understanding the things we view via camera, the director and his team appear on-screen periodically. If we’re to question police footage, Anthony found it only fair to allow us to question him as a filmmaker; this reflexive transparency is All Light, Everywhere is its illuminating strength.
In the form-bending documentary Anthony explores Axon, a manufacturer of police body cameras, and for the sake of transparency in a film about understanding the things we view via camera, the director and his team appear on-screen periodically. If we’re to question police footage, Anthony found it only fair to allow us to question him as a filmmaker; this reflexive transparency is All Light, Everywhere is its illuminating strength.
- 6/10/2021
- by Joshua Encinias
- The Film Stage
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