My focus on the lips wasn't by chance, Parkhill actually opens and practically closes the film with zoomed shots of the lead's puckers. In Dot the I, the camera follows lips and eyes almost reverentially. It's as though Parkhill believes he can capture the soul of his actors in close-up shots of their faces. It's telling because despite the pretension of depth, the film is quite superficial, with an odd, almost off, affectation. Parkhill wants to tell us an engaging, deliriously snappy story but he loses us with half-baked dialogue and patchwork style.
Continue reading: Dot The I Review
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