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Documentary All Light, Everywhere Examines the Limits of Police Body Cameras and Our Own Perceptions Time 1 hr ago
Near the beginning of Theo Anthony’s inquisitive and ambitious documentary
All Light, Everywhere, an unseen narrator issues a caveat that both goes without saying and needs to be said: “Every film is in part an autobiography, because every image has a frame. And every frame excludes a world beyond its edges. And yet, when we understand something, we still say, ‘I see.’”
All Light, Everywhere, asks dozens of questions but offers only one conclusion, which is really better described as a nugget of advice: We should proceed with caution in interpreting anything we see, particularly when it’s an image filtered through a lens.
Theo Anthony's Sundance award winner ties together many disparate threads about vision, policing, surveillance, and subjectivity, but only succeeds on the strength of its material.
By Alex Love
Apr 30, 2021 10:38 PM
JACKSON, Miss. (WJTV) – Another string of shootings and homicide this week in Jackson. Police are trying to maintain public confidence in their ability to crack down on criminals, but many neighborhoods are at their breaking points.
We are beginning to see upticks in crime around northeast Jackson, communities that are usually quiet. The shootings and fights around Ridgewood Road and Old Canton now have people demanding new strategies from law enforcement and city leaders.
During an update on three drug busts executed by Jackson police on Friday afternoon, the department had little to say about recent shootings involving a six-year-old boy on Houston Ave. and a man at the Ridgewood and Old Canton Road intersection Thursday night.
All Light, Everywhere Review: Fascinating, Fraught and Sinister Essay on the Unreliability of the Image All Light, Everywhere Review: Fascinating, Fraught and Sinister Essay on the Unreliability of the Image
Surveillance, policing and spy pigeons figure into a chillingly insightful doc on the ethics of looking and the incompleteness of seeing.
Jessica Kiang, provided by
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Courtesy of Memory
A highly persuasive film about how we should be wary of film’s power to persuade, Theo Anthony’s discursive and disturbing “All Light, Everywhere” is a superb if sinister example of how the outwardly modest essay format can deploy arguments that challenge us to unpick our most basic assumptions. Here, it’s the idea that a thing and its recorded image can never have a 1:1 relationship: It’s not just that our eyes deceive us, it’s that we’re conditioned to accept the representations of those deceptions as the truth, the whole truth, and nothing but the t