In each of the three episodes of Crime Scene: Texas Killing Fieldsof Netflix, death is everything. But not as might be expected from the numerous, and increasingly repetitive, true crime from the platform. Actually, Jessica Dimmock’s documentary takes care and patience to narrate something more than the gruesome crimes that will document. The argument of Crime Scene: Texas Killing Fields It has an objective and it is to show the uncertainty — that absence of answers — after a violent death. But doing it, also, from a multiple perception, of considerable depth and painful spaces.
And again, Crime Scene: Texas Killing Fields makes it clear that behind the almost two dozen murders committed in League City (Texas) there is a story. A family wounded, broken and destroyed by tragedy. A group of officials who fought — and are fighting — for the resolution of the crime. Dimmock manages to sustain the journey through the perception of the emotional and physical traces that violence left behind. But also something else: he explores the questions that still have no answers in a long journey for justice.
Crime Scene: Texas Killing Fields
In each of the three episodes of Netflix’s Crime Scene: Texas Death Fields, death is everything. But not as might be expected from the numerous, and increasingly repetitive, true crime on the platform. In reality, Jessica Dimmock’s documentary takes care and patience to chronicle more than just the gruesome crimes she will document. The argument has an objective and it is to show the uncertainty after a violent death. The documentary makes it clear that behind the murders in League City (Texas) there is a story. Dimmock manages to sustain the journey through the perception of the emotional and physical traces that violence left behind. But she also something else: she explores the questions that still have no answer in a long journey for justice.
A new kind of look at the horrors of murder
If something differentiates Crime Scene: Texas Killing Fields of many other documentaries released in recent years is his self-awareness. The premise is based on the fact that the resolution — hypothetical and highly unlikely — of the crimes involves accepting the mistakes made. Also the cold clues, the fact that the television reconstruction is just another attempt to hold out hope for answers.
But there is an air of definite pessimism in the production. Especially when the plot carefully explores that League City’s crimes will most likely never be solved. Even worse, that its mere analysis shows that the errors made during the investigation can be insurmountable.
looking for answers in Crime Scene: Texas Killing Fields
One of the points of interest of the documentary is that it analyzes the enigma around the cases. This is not, although it may seem like it, a search for legal answers or in the field of speculation. It is the demonstration that the question of who killed the victims — why and under what impulse — is a mystery related to silence.
Without an actual defendant, much of Crime Scene: Texas Killing Fields must fight against the perennial idea that the notion of good and evil is diffuse. Did the crimes occur due to legal oversights? Because of the inability of the authorities to delve into something bigger? The documentary carefully advances through multiple possibilities and analyzes them from the conviction of an obscure point. What happened so that a case of such magnitude is still not solved?
In his first chapter, Crime Scene: Texas Killing Fields spends much of the argument questioning that idea. He does it, moreover, with the elemental perception of the criminal act as a consequence of dozens of different reasons. Crime Scene: Texas Killing Fields he finds his best moments in his ability to be sensitive to the suffering of survivors. At the same time, in inquiring with a speculative freedom well supported by evidence about what could have happened.
But its third chapter is the one that best sustains that gaze on crime as a social and cultural fact. Death is more than a number, names on files. The victims were children, mothers, fathers, siblings of dozens of survivors who still ask questions and question the few clues at their disposal. More emotional than practical, and more elegant in its argumentation than merely theoretical, it is a clever journey into the enigma. Also a look into the legal structure that still struggles to unravel clues and half-discovered horrors.
In the end, all the silences in a single look at the past
Crime Scene: Texas Killing Fields it must also deal with its quality of incomplete production. This is just the story, the most elaborate and conscious version of a series of crimes without a guilty party. Perhaps for this reason, and despite its obvious benefits as a narration, the production is somewhat confusing, especially in its third chapter. The absence of fresh clues or, at least, the condition that there will be answers sooner or later is pessimistic.
But Crime Scene: Texas Killing Fields deal with the weight of that collective frustration through sincerity. This is not a documentary that is meant to get to the core of the truth, nor is it to grapple with answers that it theorizes through complicated spaces. The series knows that the horror of silence and the uncertain are part of its effectiveness.
Crime Scene: Texas Killing Fields he uses both as a journey into the pain of the victims and, from there, the big unanswered questions. Between both things, the documentary is linked to the collective fear of violence. A set of brilliant ideas that the production manages to string together in an effective and well-constructed manner. Perhaps its highest and most valuable point of its strange staging.