A man with a camera lurks in the bushes outside his lush home in Granada Hills. A grisly triple murder has just been committed here. He waits for the perpetrators to escape before jumping in after them. Moving through the house with his camera, he stopped on a dying man, sprawled on his stomach in a pool of his own blood as he gasped for breath. But this man is not here to help. He’s here to get the shot, and quickly escape the carnage.
In Nightcrawler, Dan Gilroy’s neo-noir thriller is now on Netflix, that man is Louis “Lou” Bloom, the main character played by Jake Gyllenhaal. Bloom is an aspiring, fast-talking con man who interprets contrived business motives and anecdotal statistics like a robot with approximate knowledge of speech. of people comes from a self-help book by Tony Robbins. After witnessing a group of freelance cameramen filming an auto accident scene, Lou is inspired to become a stricter himself, driving late into the night in Los Angeles to document the crashes. accidents and violent crimes and sell the footage to local news stations.
After selling his first record (a bloody man being resuscitated) to Nina Romina (Rene Russo), the morning news director at a local television station, Lou has memorized every word. hers. He is eager to learn and even more eager to please. Nina emphasizes that she is interested in crime, though not all of crime. “We found that viewers were more interested in urban crime creeping into the suburbs,” she said. “That means a victim, or victims, preferably well-off and white, injured at the hands of the poor or a minority group.” But most of all, what Nina wants – and what Lou needs to be successful – are incidents of visual violence that will shock her station’s audience, strike at their fears, and attract attention. their attention. “The best and clearest way I can tell you, Lou, to capture the spirit of what we broadcast, is to think of our news radio program when a person screaming women running down the street with their throats cut.”
As the plot unfolds, we watch Lou flourish in his new career path, amassing a collection of fiery car crashes, gruesome murders, and clips. Another interesting thing that he proudly labels and categorizes on his home laptop. The film makes it clear that Lou’s success as the so-called “night blower” is not due to his social personality, but to it. He feeds on death and tragedy like a dead buzzard, gliding through the dark winding streets of Los Angeles in his red Dodge Challenger, prowling for his newest prey. There is nothing lowly that he will not bow to further his goals, whether it is aggressively forcing Nina to sleep with him, bringing down his ailing assistant Rick (Riz Ahmed), Or staged a near-fatal car crash of a competitor and filmed his sick body on a stretcher. When Rick protests, telling him not to film the body because he’s “one of them,” Lou protests, “Not anymore, Rick. We are professionals. He is a salesman. “For Lou, every smile is a tooth, every compliment is a masked threat.
It would be a mistake to describe the characteristics Nightcrawler as a story about a man falling into ruin and terror because, truth be told, starting with Lou has never been this far. If anything, Nightcrawler is both a gripping dark thriller, complete with stunning Los Angeles cinematography, an electrifying nighttime car chase, and a scathing indictment of the impact The evil of contemporary news media in shaping stories is not to inform or edify but to exploit and dehumanize their subjects. It’s a powerful film that is never virtuous towards the audience, but, on the contrary, forces them to think about how a system that incentivizes someone like Lou has existed in the first place.