The opening shot of Tim Sutton’s Dark Night, coming after almost a minute of music playing over a black screen, is a beautiful yet unceremoniously conventional shot. It is the reflexive kino eye shot, showing the awareness of artifice and mediation within a filmic representation.
Gorgeous red and blue neon washes over the eye of an onlooker. We can see the approaching police car in her pupil. It is tragedy in a snapshot; fundamentally artistic even if the eyeball shot has appeared everywhere from Un Chien Andalou to LOST.
Dark Night chronicles the lives of those affected by the 2012 Aurora shooting that took place in a Colorado screening of the film The Dark Knight Rises. The film is proposed as a Continue reading Dark Night (2017) Movie Review