This is cool and all, eventually we all find that the neighbor is no different from the cosmic design of the universe, but the documentary layering, I'm sorry to say, completely fails.
movies about orphans are particularly susceptible to being ideological and this is no exception, redeeming all the outcasts along the way. The marketization of the adoption is here both the instrument for the police procedural and the law's self-negation into the 'higher law' of motherhood.
Maci, a hired escort: It's kinda weird having cameras around, right?
Nathan Fielder: We could turn them off if you want.
M: laughs Could we?
NF: Do you want to?
M: Does that defeat the purpose?
NF: What's the purpose?
M: You're filming something. It's kinda the purpose, right?
NF: We do have this drone. It'd be cool to get a drone shot, maybe.
Nathan Fielder's just fucking brilliant TV show has always been built around the similitudes between…
There are a few things you will see many crime thrillers have in common. Among them are the ominous aerial shots, night-vision photography, and scenes operating with only a single limited light source. Denis Villeneuve no doubt uses all three of these, but it is the subtle impressionist inflections he adds to them which sets this film far apart. I am going to focus on his aerial shots for two reasons: One, they especially stand out for their exceptional ability…