Pollock, whose documentary, «Strange Fruit,» premiered at the South by Southwest Festival on Saturday, claims the new security
tape featured in the film points to a cover - up of evidence on the part of Ferguson police, and a false narrative painted about Brown by city officials.
Most of the
features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic
in Hollywood filmmaking are brilliantly apparent
in The Errand Boy, including the foregrounding of sound manipulation (most blatant
in the sequence involving the post-synchronisation of the song «Lover» for a musical
film, and
in the
tape manipulation of Kathleen Freeman's reaction to having been left by her driver
in the back seat of a convertible receiving a car wash) and the placement of actors
in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra
in a
film - within - the -
film cocktail - party scene, keeps looking at the camera from the background of a shot
in which other extras,
in their roles as party guests, intermittently block him from the camera).