The “observer effect” is a term used in physics to describe the process in which the act of observation disturbs the system that’s being observed. Humans are such observers—and we have our inherent limitations, biases, and blind spots that skew how we perceive and interpret. In his remarkable, kaleidoscopic essay film, Theo Anthony investigates the correlation between how we see things and the tools and practices involved in the act of seeing.
All Light, Everywhere directs our gaze to some fascinating, often surprising connections among technology, weapons, and mechanics of motion, as well as the effect of those factors on the ways in which we construct our realities. Without being prescriptive or didactic, Anthony skillfully points out how politicized the act of seeing is and just how flawed our framing methods can be. The supposedly more objective machines aren’t quite the answer either, despite offering more detailed perspectives. They can be a reflection of power dynamics and biases too. So don’t let anyone fool you— see All Light, Everywhere.
Synopsis :
A far-ranging look at the biases in how we see things, focusing on the use of police body cameras.
All light, everywhere (USA)
Directed by Theo Anthony
Produced by Riel Roch-Decter, Sebastian Pardo, Jonna McKone
Executive Producers : Greg Boustead, Jessica Harrop, David Dolby, Natasha Dolby, Tim Nash
Music by Dan Deacon
Cinematography : Corey Hughes
Edited by Theo Anthony, Voice Over, Keaver Brenai
Sound Designer : Udit Duseja
Distributed by MEMORY (https://www.memory.is)
Release date : January 31, 2021 (Sundance)
Running time : 105 minutes
Premiere : jan. 31 - 9:00pm // Second screening : feb. 2 - 4:00pm (local time)
(Source : press release)