The real-life crime category has a new medium, or perhaps even a completely fresh vocabulary and grammar: police body cam footage. Faces of victims, witnesses and possible perpetrators appear suddenly to the cameras, sometimes in the harsh glare of vehicle beams or flashlights as the police arrive, their expressions and tones expressing caution or panic or anger or suspiciously contrived innocence. And we often incidentally glimpse the faces of the law enforcement personnel, one waiting impassively while the other asks the questions with what occasionally seems like remarkable hesitation – though maybe this is because they know they are being recorded.
We have already had the Netflix real-life crime film American Murder: Gabby Petito, about the killing of an Instagram influencer by her boyfriend, whose main point of interest was body cam footage and in which, as in this film, the police seemed surprisingly lenient with the perpetrator. There is also the acclaimed short film Incident by Bill Morrison, composed entirely of body cam film. Now comes a new film by Geeta Gandbhir about the tragic incident of Ajike Owens in Ocala, Florida, a African American woman whose children allegedly harassed and tormented her neighbor, a local resident. In 2023, after an increasing number of neighbour-dispute incidents in which the authorities were repeatedly called, the accused fatally shot Owens through her locked door, when the victim went to the neighbor's residence to confront her about hurling items at her children.
The arresting officers found evidence that Lorincz had done internet searches into Florida’s “stand your ground” laws, which permit householders and others to use firearms if there is a reasonable belief of danger. The movie constructs its narrative with the body cam footage generated during the multiple officer calls to the location before the shooting, and then at the disturbing and disordered crime scene itself – prefaced by 911 audio material of Lorincz contacting authorities in a melodramatically shaky voice. There is also police cell footage of Lorincz which has a chilly, queasy fascination.
The documentary does not really suggest anything too complicated about the neighbor, or any mitigating factors. She is clearly unstable, although the kids are heard calling her a derogatory term, an ugly jibe. The production is showcased as an example of how “stand your ground” laws generate unnecessary and heartbreaking violence. But the reality of firearm possession and the second amendment (that longstanding U.S. legal right that a deceased pundit famously claimed made gun deaths a necessary cost) is not much emphasized.
It is possible to watch the police interrogation scenes here and feel astonished at how minimal concern the police took in this point. When did she buy her gun? Where (if anywhere) did she train in its use? Had she ever had occasion to fire it before? How was the gun kept in her home? Was it just on the couch, loaded and ready? The authorities aren’t shown asking any of these undoubtedly important questions (though they may have done in footage that didn’t make the edit). Or is gun ownership so commonplace it would be like asking about microwaves or bread heaters?
For what seemed to her local residents a extended period, Lorincz was not even arrested and charged, only held and even offered a hotel stay away from home for the night (another parallel, by the way, with the a prior incident). And when she was ultimately formally arrested in the holding cell, there is an remarkable scene in which the individual simply declines to rise, refuses to put her wrists out for the handcuffs, not hostilely, but with the courteously pathetic demeanor of someone whose mental health means that she is unable to comply. Had the kid-gloves treatment up until that point led her to think that this might actually work?
It was not successful; and the jury’s verdict is revealed in the end titles. A deeply sobering portrayal of U.S. justice and consequences.
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