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“All Light, Everywhere” is a nonfiction picture that played, as if in a brainy nonfiction TV space compacting in two hours. History of filmmaking, surveillance, and subjective and objective frames. Designed by the Baltimore-based filmmaker Theo Anthony, whose other sites include the excellent Rat Film projects, it seeks to touch on every important cultural, technological, and philosophical part of monitoring, including how easy it is for the theoretically objective, detached, logical technology and so on to be manipulated, abused and rejected.
And that’s just a small area of an information store, so enormous and overwhelmed that “All Light, All over” often seems to find it hard to pick up an inquiry or argument, to support it before you have any associated thinking. The cross-sectional structure of Anthony is divided into parallel stories. And historical anecdotes, each setting another framework around the subjects of the film.
Early invoking the name of police assassin Freddie Gray, his fate lurks in the rear with the film unfolding. Anthony and his collaborators are in contrast with the enthusiasm of the supervisors, the executives, the salespeople. And the spokesman (all white and men) in the watch industry against the skepticism of progressive watchdogs. Philosophers and ethicists are the past and the present. Also, you must try to play this All Light Everywhere quiz.
All Light Everywhere quiz
Theo Anthony proved to be a master of film in just a few years. Instead of providing dynamic and synapse-sparking grounds that focus in particular the city and social justice. He does not connect the dots for us. History and up-to-date insights clash, twist and illuminate each other, calling us to reconsider the institutions of power that we might otherwise take for granted. Also, The Rat Film 2016 looked at the dehumanizing assumptions of urban design in the 20th century through an apparent network of detours.
All light, Everywhere – a special jury award in fictional testing at Sundance — is a wonderful, densely packed wake-up call. Heady with fascinating details. Then, Anthony delves into linguistic, physiological, astronomical, technological, and criminal problems. The link between photography and militarism is at the heart of his investigation. Furthermore, you’re shooting a movie; you’re filming a weapon. It is no coincidence that we speak using the same vocabulary about cameras and arms.
Besides their rich history, All Light is based on four contemporary fronts. A focus group on neuroscience with tough-to-trust tracking devices; the leading manufacturer of body cameras in the country; an educational room in which Baltimore police use these cameras and a company specializing in aerial monitoring.
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The sensitive usage of the electric score by Dan Deacon (Rat Film), which breathes and blows like an epitome in the machine, increases the troubling mood of doublespeak and predictions
In several of these segments, the camera of Anthony is part of the action, a reminder of the various monitoring levels that function in each scene. It is an inviting device in some places and distracts others similar to the ever-present title which, while explaining the setting of some scenes, replaces the voice-over sometimes. “All Light Everywhere” tosses a lot to the display and speeds up with Godard’s zesty enthusiasm, demanding that viewers get lost in their own wavelength.
Be careful, though, because its main points are distinctive in their call.
It builds on an outstanding climatic piece that finds a community gathering in Baltimore — completely colorful — that riots over the white spy plane, which tries to persuade them that it’s there for their own sakes. Rather, they are resisting the idea of giving up privacy to solve crimes in an invisible presence, because it is always a one-sided proposal. “Roll around the camera,” one man says, “and you’re going to make it felt.” Wherever it goes, “All Light Everywhere” always shows us that the cameras can kill us as much as the weapons they have been inspired. The only escape imaginable is to determine who pulls the trigger.
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