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Ends Mon, Jun 28


  • Dir. Theo Anthony
  • USA
  • 2021
  • 105 min.
  • NR
  • DCP
  • Assistive Listening
  • Closed Captioning
  • Hearing Loop

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 from the 2021 Sundance Film Festival)

Winner of the Special Jury Prize for Nonfiction Experimentation at the 2021 Sundance Film Festival

“A brilliant and chilling study in watching the watchers…. Historical information and up-to-the-minute insights collide, intertwine and illuminate one another, inviting us to question power structures we might otherwise take for granted.” —Sheri Linden, Hollywood Reporter

“The movie’s theoretical sophistication remains intensely personal, and its empathetic energy comes from the drive to connect the ideas at hand with the lives and concerns of the people Anthony sees, yet with no pretense of being a savior or benefactor.” —Richard Brody, New Yorker

“An exploration of how everything we use to present a certain truth is shaped by the way we attempt to capture it.… The disquieting presentation of its damning footage is exactly what makes it so compelling.” —Juan Barquin, Screen Slate

See the Official Website