It still has the intense fly-on-the-wall honesty of Unrelated, its provocative framing, landscapes and clipped editing that encourages participation. It is marred here by a cringe factor reminiscent of Ostlund, the supreme discomfort of white privilege alleviating its guilt. I'm not opposed to this, but Hogg again includes a revelation to make the behaviour sympathetic or explained and I felt neither effect.
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