In his great speculative essay The Cinema of the Future, theorist and cinematographer Morton Heilig argued there’s no such thing as films that are “too” realistic. “When either too much or too little is given,” he wrote, “there just isn’t any ‘realism’.”
Heilig’s words returned to my mind after watching Bali 2002, a four-part series set during and after the 2002 Bali bombings: the horrific event almost 20 years ago that killed more than 200 people that is seared into both Australia and Indonesia’s psyche.
