All Light, Everywhere

All Light, Everywhere

A work of film criticism, as a general rule, tends to assume the posture of an objective observer: the job is to describe the film as accurately as possible, to get the reader to see the film for what the critic believes it is. Passing judgement on the film’s goodness or badness only comes after breaking the film down into its component parts and assessing whether and how those parts work. All Light, Everywhere, however, resists this approach, as it’s a film about objectivity itself being elusive and perhaps unattainable – and it’s in this spirit that I’ve chosen to open my review of the film with a few brief facts about myself and the context within which I’ve experienced it. There’s always at least one layer of human bias skewing our perspective, Anthony argues, even when that perspective is mediated by inhuman technology. There’s always something outside the frame.

READ THE FULL REVIEW HERE: www.cinematary.com/writing/2021/6/28/all-light-everywhere-2021-by-theo-anthony