It’s a lot to take in, and not every pathway leads to a gratifying outcome, but Anthony’s enigmatic style keeps the intrigue factor high throughout. 'White Noise': All the Details on Noah Baumbach's Film Starring Adam Driver and Greta Gerwig 'Luckiest Girl Alive' Review: Mila Kunis Leads Shaky Assault Survivor Story New Movies: Release Calendar for October 7, Plus Where to Watch the Latest Films All of that comes full circle in a climactic confrontation about the nature of privacy in a world governed by corporate power. In the most compelling passages, he journeys back to the late 19th century, unearthing the little-known history of astrophotography and mug shots, finding a remarkable set of connections between camera technology and weapons of war. An experiment with neural response comes and goes, if for no other reason than to deepen a sense of Orwellian themes at work. The ensuing chapter-based saga careens from a warehouse that develops tasers and police body cameras, to training sessions for officers who wear the devices, the machinations of a spy plane entrepreneur, and the history of camera pigeons in WWI. Though the results are less cohesive this time, “All Light Everywhere” provides another compelling riff on the ominous forces governing everyday life that’s both alarming and awe-inspiring at once.Īnthony begins with a striking visual metaphor, reveling in the blind spot of the optic nerve, and setting the stage for an investigation into how little we see about the way the world looks back at us. For that reason alone, the filmmaker’s strange and alluring rumination on the ways technology exerts control over human life is a worthy follow-up to his 2016 debut “Rat Film,” which used Baltimore’s rodent infestation as a savvy metaphor for gentrification. However, Theo Anthony’s ambitious documentary unearths one brilliant connection - a fascinating lineage between the camera and the gun - and roots it in historical fact. All Light, Everywhere is Theo’s second feature length film and his first film premiering at the Sundance Film Festival.“ All Light Everywhere” winds its way through fragmentary observations about modern surveillance society, unearthing a wide range of amorphous connections about its subject. His latest film Subject To Review, for ESPN’s 30 for 30 series, premiered at the 57th New York Film Festival. In 2015, he was named to Filmmaker Magazine’s 25 New Faces of Independent Film. Theo is the recipient of the 2018 Sundance Art of Non- Fiction Fellowship and the 2019 Sundance and Simons Foundation Science Sandbox Fellowship. The film was theatrically released and was featured on PBS’ Independent LensSeries in early 2018. It has received wide critical acclaim, and was nominated for a 2017 Gotham award for Best Documentary Feature film as well as Cinema Eye Honors for Best Debut Feature. His first feature documentary, Rat Film, premiered internationally at the 2016 Locarno Film Festival and domestically at the 2017 True/False Film Festival. Theo Anthony is a filmmaker based in Baltimore and Upstate New York. Panelist Bios Theo Anthony, Writer, Director and Editor The Q&A features director Theo Anthony, moderated by Amy Nicholson, Film Critic for Variety & KPCC Film Week.Ĭlosed Captioning is available for both the film and filmmaker conversation. This digital screening includes a moderated filmmaker conversation that will be on demand with the film. As surveillance technologies become a fixture in everyday life, the film interrogates the complexity of an objective point of view, probing the biases inherent in both human perception and the lens. All Light, Everywhere is an exploration of the shared histories of cameras, weapons, policing and justice.
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