Inspired by iconic Saul Bass titles for films we shot much of the sequence in-camera, experimenting with techniques like stop-frame animation, paper play, shadow work, and film degradation to create a graphic, jarring introduction using red lines as a thematic through-line that foreshadows the narrative.
The result is a half tactile, half digital world where composited red lines, shapes, and redactions drive real-world divisions across live-captured maps, photographs, and documents — illustrating to audiences how racial discrimination in housing and community policing shaped the demographic and wealth patterns of American cities, while hinting at the oppression, surveillance, and violence to come.
