knows very well the cinematic conversations that came before it and, as a result, it doesn’t carry the responsibility of being “definitive.” My biggest complaint aboutis that it’s only 88 minutes; I’d have watched the two-hour or 10-episode television version happily.
This doc focuses specifically on two Chicago-area programs targeting at-risk young men, offering holistic approaches to rehabilitation and community building. On the West Side, the filmmakers are embedded with the MAAFA Redemption Project, organized by Marshall Hatch Jr., the son of a local pastor whose strategy includes putting participants through apprenticeships in different construction trades.
As Moore puts it, the number of people in Chicago who will actually commit gun violence isn’t astronomical — he estimated between 2,500 and 3,000 — so he sees the tangible potential of person-to-person outreach. And as Hatch puts it, policing can only impact a situation after it’s already gone bad, but “What ultimately needs to change are the conditions that produce shooters in the first place.
The effort to track the two featured organizers and delve into their approaches leaves the directors with very little time for personality-building among the participants, but they’re somehow able to build out three central “characters.” Zay, who has to deal with PTSD from getting shot soon after joining IMAN, and Charles, amazingly personable despite being caught up in a legal system that written him off as unable to be reformed, are introduced mostly as sketches.
The documentary is aesthetically clean and clear, characterized by its access and unobtrusive intimacy, a light touch that lets Kris Bowers’ horn-heavy, jazz-infused score push the story along. Brief bursts of abstract animation from Jason Carpenter don’t necessarily add much, but they play off the vibe of Bowers’ score and are never distracting.
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