In one of many commentaries to the camera of Rod Blackhurst, twice-convicted, twice-acquitted murder suspect, Amanda Knox states, “Either I am a psychopath, or I am you.”
By the conclusion of the film (directed by Blackhurst along with Brian McGinn—who also shares the writing credits with Matthew Hamackek), quite a few viewers will remain uncomfortably uncertain as to whether any justice was meted out following the 2007 brutal slaying of Meredith Kercher in a house she was sharing with Knox while studying in Perugia, Italy, or walk away convinced that they have successfully unravelled the truth in this once-in-a-lifetime dream that turned into a deadly nightmare with the deep slit of a throat.
There are no winners here. Sloppy police work (including contamination of the crime scene and an over-reliance on DNA) led by philosopher-prosecutor Giuliano Mignini went all the way to the Supreme Court eight years after the murder. Suspects Knox and whirlwind boyfriend Raffaele Sollecito caught lying for and about each other—with all manner of excuses—only chips away at their credibility. While free today, their lives will be haunted by these grizzly events no matter what actually happened. Third man in to the murder, break-and-entry specialist Rudy Guede ended up with 16 years and—thanks to an early release—will soon be back on the streets where he can continue to proclaim his innocence.
Pathetically, “journalist” Nick Pisa positively salivates, recalling the many cover stories he was able to pen, largely for The Daily Mail, thanks to his luck of having such colourful characters satiating his readership with every salacious detail—corroborated or not—that could be found. Here was a slaying that kept on giving, indeed!
Obviously, Meredith’s family were thrown onto a roller coaster from hell with the death of a loved one, finding no real closure with so many questions left unanswered.
Of course, the biggest loser of all was the beautiful, vivacious victim whose dreams were dashed as surely as her privacy was so brutally violated and young life snuffed out for no apparent reason than to be living it.
In the same vein, Mignini’s catechism, “God runs the world, Man is free will but must take responsibility for his actions” becomes his bitter conundrum which no amount of time in confessional or communions will resolve—much less absolve.
Special mention must be made for the original score from Danny Bensi and Saunder Juriaans, marvellously dreamy in its own right and deftly filled with film noire elements and orchestrations that are at one with “pinch me now and wake me up, surely this can’t be happening to me,” which—in one way or another; at one time or another—all of the principals involved in this tragic affair must have felt. JWR