As surveillance technologies become a fixture in everyday life, Theo Anthony's brilliant film essay re-evaluates the notion of objectivity in a contemporary setting.
Objectivity, or the lack of it, has been a key talking point in nonfiction cinema since Robert Flaherty’s Nanook of the North (1922).
As spectators, we are urged to consider – as in the case of police body cameras, for instance – what is subjective or objective in any given viewpoint. Have smartphones, in the hands of bystanders, allowed for a more democratic holding-to-account of police brutality?
All Light, Everywhere questions and reimagines the very idea of the ‘objective lens’, positioning the camera as a weapon for both the oppressors and the oppressed.