The real-life crime genre has an innovative format, or perhaps even a whole new language 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 officers approach, their expressions and tones eloquent of caution or panic or indignation or dubiously feigned naivety. And we often incidentally glimpse the faces of the law enforcement personnel, one standing by blankly while the other asks the questions with what occasionally seems like extraordinary diffidence â though perhaps this is because they are aware they are being recorded.
We have already had the Netflix real-life crime film American Murder: Gabby Petito, about the slaying of an Instagram influencer by her boyfriend, whose main point of interest was officer recordings and in which, as in this film, the law enforcement seemed extraordinarily lax with the suspect. There is also Bill Morrisonâs Oscar-nominated short Incident, composed entirely of body cam film. Now comes a new film by Geeta Gandbhir about the grim case of Ajike Owens in Ocala, Florida, a woman of colour whose children reportedly bothered and antagonized her neighbor, a local resident. In 2023, after an escalating series of neighborhood conflicts in which the police were summoned multiple times, Lorincz shot Owens dead through her closed front door, when Owens went to the neighbor's residence to confront her about hurling items at her children.
The investigating authorities found evidence that the suspect 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 documentary builds its story with the officer recordings captured during the multiple officer calls to the location before the shooting, and then at the horrific and chaotic crime scene itself â prefaced by emergency call recordings of Lorincz calling the police in a melodramatically shaky voice. There is also jail video of the individual which has a chilly, queasy fascination.
The film does not really imply anything too complex about Lorincz, or any mitigating factors. She is obviously disturbed, although the kids are heard calling her âthe Karenâ, an hurtful taunt. The production is presented as an example of how âstand your groundâ laws generate senseless and tragic bloodshed. But the reality of firearm possession and the constitutional right (that longstanding U.S. legal right that a late commentator notoriously said made firearm fatalities a necessary cost) is not much emphasized.
It is possible to watch the police interrogation scenes here and feel astonished at how little interest the police took in this point. When did she buy her gun? Where (if anywhere) did she train in its use? Was this the first time she discharged the weapon? How was the gun kept in her home? Was it just on the couch, loaded and ready? The authorities arenât shown asking any of these surely relevant questions (though they may have done in recordings that were not included). Or is possessing a firearm so normal it would be like asking about kitchen appliances or bread heaters?
For what appeared to her neighbors a very long time, the suspect was not even taken into custody and indicted, only detained and even offered a hotel stay away from home for the night (another parallel, by the way, with the Gabby Petito case). And when she was ultimately formally arrested in the detention area, there is an remarkable scene in which Lorincz simply refuses to stand, refuses to put her wrists out for the handcuffs, not aggressively, but with the courteously pathetic demeanor of someone whose mental health means that she just canât 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 saved for the closing credits. A deeply sobering picture of U.S. justice and consequences.
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