The true crime category has an innovative format, or perhaps even a completely fresh vocabulary and structure: officer-worn camera recordings. Faces of victims, witnesses and potential offenders loom up to the cameras, at times in the harsh glare of vehicle beams or torches as the police arrive, their expressions and tones eloquent of wariness or fear or indignation or dubiously feigned naivety. And we often catch sight of the faces of the officers themselves, one waiting impassively while the other conducts the inquiry with what occasionally seems like remarkable hesitation – though maybe this is because they know they are being recorded.
We have previously seen the streaming service real-life crime film American Murder: Gabby Petito, about the killing of an Instagram influencer by her boyfriend, whose main point of interest was officer recordings and in which, as in this film, the police seemed extraordinarily lax with the perpetrator. There is also Bill Morrison’s Oscar-nominated short Incident, composed entirely of officer footage. Now comes a new film by Geeta Gandbhir about the tragic incident of Ajike Owens in Ocala, Florida, a woman of colour whose children reportedly bothered and tormented her white neighbour, Susan Lorincz. In 2023, after an escalating series of neighborhood conflicts in which the authorities were summoned multiple times, Lorincz shot Owens dead through her closed front door, when the victim went to Lorincz’s house to address her about hurling items at her children.
The investigating authorities found evidence that Lorincz had done internet searches into the state's self-defense statutes, which allow residents and others to use firearms if there is a significant presumption of threat. The movie builds its story with the officer recordings captured during the repeated police visits to the location before the shooting, and then at the disturbing and disordered crime scene itself – prefaced by 911 audio material of the caller calling the police in a melodramatically shaky voice. There is also police cell footage of the individual which has a chilly, queasy fascination.
The documentary does not really imply anything too complex about the neighbor, or any extenuating circumstance. She is clearly unstable, although the children are heard calling her “the Karen”, an ugly jibe. The production is presented as an illustration of how self-defense regulations generate senseless and tragic violence. But the reality of firearm possession and the constitutional right (that longstanding U.S. legal right that a late commentator famously claimed made firearm fatalities a necessary cost) is not much emphasized.
It is possible to watch the officer questioning segments here and feel astonished at how minimal concern the police took in this aspect. At what time did she purchase the firearm? Did she receive any instruction on handling it? 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 police aren’t shown asking any of these surely relevant questions (though they may have done in recordings that were not included). Or is gun ownership so normal it would be like asking about kitchen appliances or bread heaters?
For what appeared to her neighbors a extended period, Lorincz was not even arrested and charged, only detained and even provided accommodation away from home for the night (another point of comparison, incidentally, with the a prior incident). And when she was ultimately officially taken into custody in the holding cell, there is an remarkable scene in which the individual simply refuses to stand, will not extend her arms for the handcuffs, not aggressively, but with the politely self-pitying air of someone whose mental health means that she just can’t do it. Had the kid-gloves treatment up until that point encouraged her to think that this could be effective?
It was not successful; and the panel's decision is revealed in the end titles. A deeply sobering picture of U.S. justice and consequences.
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