If it ain’t broke…

The documentary opens with early-morning shots of an Everycity - a skyline, tall buildings, cars moving along the freeway. It cuts to a police car turning onto a street in a suburban neighborhood. The camera focuses on a modest bungalow, then jumps to a pair of beefy policemen, who head toward the house. They interview a shirtless and mustachioed man, who answers the officers' questions indignantly. He is soon handcuffed and helped into the back seat of the police car. One waits for the narrator's voice to intone about what's happening, but it never comes - because the film is Domestic Violence, Frederick Wiseman's latest film.

April 1, 2003

The documentary opens with early-morning shots of an Everycity - a skyline, tall buildings, cars moving along the freeway. It cuts to a police car turning onto a street in a suburban neighborhood. The camera focuses on a modest bungalow, then jumps to a pair of beefy policemen, who head toward the house. They interview a shirtless and mustachioed man, who answers the officers' questions indignantly. He is soon handcuffed and helped into the back seat of the police car. One waits for the narrator's voice to intone about what's happening, but it never comes - because the film is Domestic Violence, Frederick Wiseman's latest film.