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works as neither documentary nor fiction, instead blending the two formats into a cine-essay where montages are the premium source of visualization and, subsequently, critique.

The exploitation of black labor and genocide of indigenous people are the foundation of a country that refuses to atone for its sins.

Reynolds calmly describes the chain of events for friends online and even consoles her four-year-old daughter in the backseat.

Gun still pointed at Philando, whose last breaths and bloody, white tee are in frame, the murderer arrests the videographer for a crime unbeknownst to the viewers, or to her. Baltimore County police killed the 23-year-old mother of two after an hours-long standoff with the cops, who had come to serve her with an arrest warrant stemming from a March 2016 traffic stop.

The unfortunate outcome of the democratization of digital technology is that the visual appetite for violence is regularly satisfied with images of atrocity.

We are forging a new world where explicit content such as graphic porn is so readily available it becomes ordinary, while evidence of tragedy must be photographed for people to simply acknowledge suffering.

Perhaps the only shred of symbolic truth behind the “great” America Donald Trump frequently alludes to is the blood red of his now iconic baseball cap. The psychological effects of witnessing black bodies being brutalized hasn’t helped put an end to this plague against a community, or even cultivate empathy within those in power.

So if that authority is still killing with total impunity, what’s the point of recording?

Multiple shots ring out in the Baton Rouge night, the videographer quickly puts the camera down — “They shot him? Less than a day later, another trending topic: #Philando Castile.