The true crime category has an innovative format, or perhaps even a whole new language and structure: officer-worn camera recordings. Countenances of those harmed, observers and possible perpetrators loom up to the cameras, at times in the harsh glare of headlights or flashlights as the officers approach, their faces and voices eloquent of caution or panic or indignation or suspiciously contrived innocence. And we frequently incidentally glimpse the expressions of the officers themselves, one waiting impassively while the other asks the questions with what occasionally seems like extraordinary diffidence – though perhaps this is because they are aware they are being recorded.
We have already had the Netflix real-life crime film The Gabby Petito Case, about the killing of an Instagram influencer by her boyfriend, whose main point of interest was body cam footage and in which, as in this film, the law enforcement seemed surprisingly lenient with the suspect. There is also the acclaimed short film Incident by Bill Morrison, composed entirely of officer footage. 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 tormented her white neighbour, Susan Lorincz. In 2023, after an increasing number of neighbour-dispute incidents in which the police were repeatedly called, Lorincz shot Owens dead through her locked door, when the victim went to Lorincz’s house to confront her about hurling items at her children.
The arresting officers found proof that Lorincz had done internet searches into the state's self-defense statutes, which permit residents and others to shoot if there is a reasonable belief of danger. The documentary builds its story with the body cam footage captured during the multiple officer calls to the location before the killing, and then at the horrific and chaotic crime scene itself – prefaced by 911 audio material of Lorincz calling the police in a melodramatically shaky voice. There is also police cell footage of Lorincz which has a disturbing, unsettling appeal.
The film does not really suggest anything too complicated about Lorincz, or any extenuating circumstance. She is clearly unstable, although the kids are heard calling her a derogatory term, an ugly jibe. The production is presented as an example of how self-defense regulations lead to unnecessary and heartbreaking violence. But the reality of firearm possession and the second amendment (that longstanding U.S. legal right that a deceased pundit notoriously said made gun deaths a necessary cost) is not much emphasized.
It is possible to watch the officer questioning segments here and feel astonished at how little interest the officers took in this aspect. At what time did she purchase the firearm? 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 police aren’t shown asking any of these surely relevant questions (though they could have inquired in recordings that didn’t make the edit). Or is gun ownership so commonplace it would be like asking about microwaves or bread heaters?
For what appeared to her neighbors a extended period, the suspect was not even taken into custody and indicted, only held and even provided accommodation away from home for the night (another point of comparison, incidentally, with the Gabby Petito case). And when she was ultimately formally arrested in the holding cell, there is an extraordinary sequence in which the individual simply refuses to stand, will not extend her arms for the cuffs, not aggressively, but with the courteously pathetic demeanor of someone whose psychological state means that she is unable to comply. Had the kid-gloves treatment up until that point led her to think that this might actually work?
It didn’t; and the jury’s verdict is saved for the end titles. A very sombre portrayal of U.S. justice and consequences.
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