All Light, Everywhere

Theo Anthony constructs a dense, essayistic tapestry that relies on the juxtaposition of surveillance tech, historical photography, and philosophical inquiry. He explores the inherent bias of lenses, drawing a direct line from the phenakistoscope to predictive policing algorithms.

What lingers after the credits is a profound unease about the fiction of objective observation. The film suggests that every frame is an act of editing, and every camera an instrument of power. — MovieFinder Editorial