16 Shots tells a tale of two Chicagos, condemning its officials while lifting up its citizens
“The body tells a very different story”—journalist Jamie Kalven
Rick Rowley’s 16 Shots centers on the fatal shooting of Chicago teen Laquan McDonald by then-police officer Jason Van Dyke in 2014, and the extraordinary chain of events that followed. But tellingly, it never refers to itself as the story of McDonald, perhaps because that life was cut much too short to be rendered on screen. Instead, the documentary branches out to explore the many competing narratives about the Second City. There’s the tale of two cities, which emphasizes the chasm between the city’s underserved, predominantly black neighborhoods and the posh downtown and north side areas. Compare that to former mayor Rahm Emanuel’s insistence that the ongoing use of TIF funds in such “blighted” areas as The Loop is actually just a “tale of two investment strategies,” meant to achieve world-class city status for Chicago. Talking heads with former Chicago Police Department officials paint a picture of a population—primarily that of the west and south sides—that needs to be saved from itself, while interviews with community activists in those same neighborhoods detail efforts to keep hope alive despite a combination of indifferent policy and political attacks.
Thoughtful yet stylish, 16 Shots maintains a firm grasp of these narratives while introducing a few more over the course of its runtime, including the parsing over labels for the slain teen: “victim” or “offender,” a teen with a great sense of humor or “no angel.” Yet the documentary by Rowley, the Dirty Wars helmer and Frontline veteran, never feels overstuffed, nor does it seem to be glossing over the inequitable systems that led to not just McDonald’s murder but also the ensuing coverup. Although the use of drone shots starts to feel redundant, early on, it brings these dichotomies into sharper relief, contrasting the glittering, occupied high-rises of Chicago’s downtown and lakeshore with the flashing of blue light cameras, which are part of a surveillance strategy to deter crime that’s elicited mixed reactions from the people in the communities where they’re found. Likewise, composer Brian McOmber’s score alternates from propulsive synths to match the feel of an urban thriller to more somber notes to accompany the testimonials from a community mourning the loss of a youth. It serves as both a primer on Chicago politics for the uninitiated and an all-too-familiar tale for many city residents.