Olivia ...’s review published on Letterboxd:
Sooo if I understand anything from my precursory google search on visual landscape theory, first introduced to me in form through Masao Adachi’s A.K.A. Serial Killer, our camera’s perspective has shifted away from the implications of any crime scene photo tainting the image of a particular place or location into its exact opposite. Instead of violence turning landscapes into a sort of symbol for perversion, the landscapes are shown divorced from any sensational attachments, as is, in its material reality. distant and impersonal. I do feel an anti-social feeling, and not just from the landscapes, but from the very structural form of this film. such and such infomercials over court documents. pop songs. not the mundanity of evil but the modern humanity of it. now it feels like a time capsule of a time capsule but anyone could imagine this in a 2024 context.