It's all in the location.
More precisely, it's the shooting on location that makes work like this truly shine. Whether it's through Sidney Lumet's cold and muddy New York City, David Simon's inner-city Baltimore corners, or Michael Mann's near-insane dedication on display in Public Enemies, reality can only be shown to an audience, cast, and crew by way of this kind of authenticity. To forgo any attempt at simulation and ground a fictional work in a real world; this is the fundamental backbone of the sociologically-minded film noir and I love it. DC Noir captures the area perfectly for a truly immersive experience.
As for the vignettes themselves, one of the strongest elements at play is how each one focuses on characters from different walks of life. This really helps sell the angle of this anthology being about more than just an assortment of individuals, but a multi-faceted and diverse community (be it racially, economically, etc.). While DC Noir's being an anthology film maybe doesn't capture the feeling of a multi-POV novel a la Heat, Widows, or anything by David Simon, the effort it makes is commendable. It asks that the audience see beyond each of these shorts as a simple genre exercise and consider how, in spite of their lack of plot intersection, they work together to showcase life for those effectively trapped in The America Left Behind.
On a technical level, I thought the composition of scenes and usage of depth of field were quite beautiful to look at. The music and sound design were on the mark as well; this is a competently, professionally produced film. The first two stories are, unfortunately, a bit weaker and some of the performances momentarily suffer as a result, but these are ultimately forgivable stumbles in an otherwise powerful, if somewhat superficial, examination of a little microcosm of society's failings. For fans of crime fiction with a more sociological edge, this is a title worth checking out.
Happy watching!
More precisely, it's the shooting on location that makes work like this truly shine. Whether it's through Sidney Lumet's cold and muddy New York City, David Simon's inner-city Baltimore corners, or Michael Mann's near-insane dedication on display in Public Enemies, reality can only be shown to an audience, cast, and crew by way of this kind of authenticity. To forgo any attempt at simulation and ground a fictional work in a real world; this is the fundamental backbone of the sociologically-minded film noir and I love it. DC Noir captures the area perfectly for a truly immersive experience.
As for the vignettes themselves, one of the strongest elements at play is how each one focuses on characters from different walks of life. This really helps sell the angle of this anthology being about more than just an assortment of individuals, but a multi-faceted and diverse community (be it racially, economically, etc.). While DC Noir's being an anthology film maybe doesn't capture the feeling of a multi-POV novel a la Heat, Widows, or anything by David Simon, the effort it makes is commendable. It asks that the audience see beyond each of these shorts as a simple genre exercise and consider how, in spite of their lack of plot intersection, they work together to showcase life for those effectively trapped in The America Left Behind.
On a technical level, I thought the composition of scenes and usage of depth of field were quite beautiful to look at. The music and sound design were on the mark as well; this is a competently, professionally produced film. The first two stories are, unfortunately, a bit weaker and some of the performances momentarily suffer as a result, but these are ultimately forgivable stumbles in an otherwise powerful, if somewhat superficial, examination of a little microcosm of society's failings. For fans of crime fiction with a more sociological edge, this is a title worth checking out.
Happy watching!
- LC.