Queensbridge looks eerily beautiful from above. Strange-looking structures surrounded by trees, scattered around with no apparent criteria, as if they had sprouted from the earth, it almost looks like something from another world.
Dito Montiel's cinema is essentially impressionistic. Recollections of moods, places, events, people. Always too richly detailed to have been entirely made up. In The Son of No One, when his camera repeatedly hovers over the neighborhood, it's as if these buildings are hiding a million different stories, and he knows every single one of them.
