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Escalating events are terrifying because of the loss of control, but perhaps even more so because of their innocuous beginnings. We can easily imagine ourselves in such events, especially when they are historically documented. Such is the case with Detroit, Kathryn Bigelow’s dramatisation of events at the Algiers Motel during the 1967 riots of the eponymous city. Beginning with an animated sequence that recounts racial tension alongside urban gentrification and migration during the early to mid-twentieth century, Detroit focuses on several character vectors that converge at the Algiers where events escalate to truly terrifying levels. The danger largely results from people being in the wrong place at the wrong time and, in several cases, the wrong colour. Bigelow deftly guides the audience through the events, as well as through genres including social drama, horror and courtroom. This is impressive enough, but the film’s greatest coup is to present the incidents at the Algiers as a microcosm of much larger events, as the viewer is kept aware of riots and broader tensions, but the film’s focus on this specific event expresses both the intimate and large scale powder kegs. Three central characters represent parts of the overall conflict: singer Larry (Algee Smith) – black victim; Detroit police officer Krauss (Will Poulter) – racist white authority; security guard Dismukes (John Boyega) – liminal figure of the black man in uniform. Radiating out are various other figures, tensions and events that escalate into steadily darker territory. Bigelow demonstrates her trademark immersive style, much as she did with The Hurt Locker and Zero Dark Thirty, often following characters with mobile tracking shots while many of the confrontation scenes are horrifically claustrophobic. The viewer may often feel that they themselves are trapped in that motel, armed cops yelling and, in some cases, doing much worse. Yet no character here is a caricature, even the ostensible villain of the piece is presented as complex and multi-faceted while the victims are not without agency. This adds to the relatability of the characters and the film’s immersive nature, for it is easy to imagine oneself in such a situation but far harder to imagine what one would do. The viewer is therefore left shaken and disturbed by the events, as indeed we should be, because equivalent events continue today, and continue to escalate.


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