It’s most concerned with calling on bouts of whimsy and superficial cultural signifiers to approximate the headspace of its characters.
By treating his hot subject matter with cool detachment, Markus Schleinzer depersonalizes his portrait of criminality.
It’s when the film falls back on the most familiar tropes that it runs into the most trouble.
By now the obsessive need of (generally young, male) characters to document every aspect of their lives via HD cam has been well noted by contemporary cinema.
The film believes that cataloguing items of cultural and social significance is akin to addressing them.
Frederick Wiseman’s stance of objectivity makes the documentarian’s films both richly engaging and perpetually problematic.